X-Men 2
by Artemis9
Summary: Of course, this is only my version of a possible sequel of "X-Men". I wrote it immediately after seeing the first part in 2000.


"X-MEN 2"  
  
  
  
(as I see it g)  
  
  
  
  
  
  
  
  
  
  
  
by  
  
ARTEMIS  
  
  
  
* No copyright infringement intended. I wrote this story solely for your and my pleasure *  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
FADE IN:  
  
  
  
CLOSE on a small green shoot in dry desert ground.  
  
  
  
We HEAR PROFESSOR XAVIER'S VOICE.  
  
  
  
PROFESSOR X (V.O.)  
  
The Earth.  
  
  
  
We ZOOM OUT very quickly until we see the Earth as a whole in front of a black background.  
  
  
  
PROFESSOR X (V.O.)  
  
The Blue Planet. Home of 6 billion  
  
individuals of a race called man.  
  
  
  
The Earth rotates and seemingly moves away until it is only a small spot against the black  
  
background. The spot extends to the right and soon looks like a lying "8", and next we see two separate little spots. We realize that we are watching a cell as it divides.  
  
  
  
PROFESSOR X (V.O.)  
  
Homo sapiens sapiens. The most  
  
highly developed species on our planet.  
  
Until now, that is.  
  
While the Professor is talking, the cells keep dividing, and soon we recognize a human  
  
embryo.  
  
PROFESSOR X (V.O.)  
  
A new generation of humans has  
  
evolved, one whose DNA endows  
  
it with special gifts. Gifts that are  
  
regarded as a threat by normal humans.  
  
The human embryo grows and finally puts a thumb into its mouth.  
  
PROFESSOR X (V.O.)  
  
The question is not whether this leap in  
  
human evolution is a mistake of nature  
  
or a work of art. It is not whether normal  
  
humans have the right to track down the  
  
mutants and rid the planet of what they  
  
think is abnormal and dangerous.  
  
  
  
The fetus is now fully developed.  
  
PROFESSOR X (V.O.)  
  
The question is -  
  
The fetus opens its eyes that are yellow and have elliptic pupils, and looks directly at us.  
  
PROFESSOR X (V.O.)  
  
What will happen if they try?  
  
We HEAR THE WELL-KNOWN SOUND OF WOLVERINE'S EXTENDING CLAWS, and the  
  
picture is ripped off the screen to reveal metallic letters spelling "X-MEN 2".  
  
FADE OUT.  
  
  
  
  
  
  
  
  
  
FADE IN:  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE IN HIS SCHOOL FOR THE GIFTED - NIGHT  
  
  
  
PROFESSOR X sits behind his desk while SCOTT SUMMERS agitatedly walks around in the room, fiercely gesticulating while he talks.  
  
  
  
SCOTT  
  
He's done it again! Professor, he can't  
  
be part of the team!  
  
  
  
PROFESSOR X  
  
Why, because he took your motorcycle?  
  
  
  
SCOTT stops in front of the desk and puts both hands on the top.  
  
  
  
SCOTT  
  
You know what I mean. Sure, he helped  
  
us defeat Magneto, and we owe him a lot.  
  
But this man has no discipline - he doesn't  
  
know anything about teamwork. He just doesn't fit in.  
  
  
  
PROFESSOR X  
  
Your report proves you wrong. Scott,  
  
Logan has been on his own for over 15  
  
years. Give him some time to integrate,  
  
to find his place in the X-team. It's not  
  
easy for him.  
  
  
  
SCOTT  
  
Neither for us. Where is he, anyway?  
  
He's been gone for two days.  
  
  
  
PROFESSOR X  
  
He is on his way to Canada, trying to find  
  
out about his past.  
  
  
  
SCOTT'S anger seems to fade. His face shows a pensive and concerned expression.  
  
  
  
SCOTT  
  
The experiments?  
  
  
  
PROFESSOR X nods.  
  
  
  
SCOTT  
  
I hope he'll find the bastards.  
  
  
  
CLOSE ANGLE ON PROFESSOR X, whose expression doesn't show what he thinks, but is very serious.  
  
  
  
FADE OUT  
  
  
  
  
  
  
  
FADE IN:  
  
  
  
EXT. SHABBY AREA OF CHICAO - NIGHT  
  
  
  
FADE-IN TITLE: "CHICAGO"  
  
  
  
A MOTORBIKE that we recognize as the X-Cycle Logan "borrowed" from Scott stands in front of a run-down bar.  
  
  
  
  
  
INT. THE BAR - SAME TIME  
  
  
  
Dark figures are sitting at tables and at the counter. Talking and the clinking of glass can be heard, and the smoke is so thick it could be cut with a knife.  
  
  
  
CLOSE ON A HAND holding a stogie, and we get the impression that most of the smoke originates from this very cigar.  
  
  
  
The hand reaches for a glass filled with a clear liquid, apparently no water, and we  
  
ZOOM OUT until we realize that the person we have been watching is LOGAN.  
  
LOGAN ignores the people around him and seems to focus on his glass when the TV SET  
  
catches his attention.  
  
The screen shows A REPORTER standing in front of the Congress Hall.  
  
REPORTER  
  
The upcoming debate in New York about  
  
the controversial law that would mean  
  
the revelation of all mutants living in the  
  
United States has been stirred up by an  
  
unexpected event. The sudden swing in  
  
Senator Kelly's attitude towards the enforced  
  
registration of mutants has caused a  
  
downright tumult in the Senate.  
  
Nobody can quite explain what made him  
  
change his mind like this, there has even been  
  
talk that he was brainwashed by a mutant  
  
with telepathic abilities.  
  
LOGAN  
  
Crap!  
  
LOGAN slams his glass on the counter, and while the TV report continues in the  
  
background, he stands up and walks out of the bar.  
  
  
  
EXT. THE BAR - CONTINUED ACTION  
  
LOGAN takes a deep breath, his breath forming clouds in front of his face. He is still  
  
standing in the doorframe when a HUGE BLACK GUY approaches the bar.  
  
LOGAN doesn't move but scrutinizes the man who stops right in front of him and returns his  
  
look without any sign of emotion.  
  
CLOSER ANGLE ON THE BLACK MAN that shows a tattoo shaped like the letter "M"  
  
right around his right eye.  
  
LOGAN frowns and steps aside, and the BLACK MAN enters the bar. For the regular movie-  
  
goer, this has only been a strange encounter with a strange man, but we know that Logan  
  
has just met BISHOP.  
  
LOGAN looks around again, then at his motorbike.  
  
LOGAN  
  
Brainwashed my ass. If I get my hands  
  
on you, there'll be no more mimicking,  
  
Missy.  
  
CONTINUED:  
  
LOGAN carelessly throws his cigar on the sidewalk, pulls his leather jacket tighter and  
  
seems to decide that he needs a little walk to cool down.  
  
FULL SHOT ON THE STREET as Logan walks away.  
  
  
  
EXT. ANOTHER DARK STREET - SHORTLY AFTER  
  
A small BUNCH OF HOMELESS PEOPLE has gathered in front of a YOUNG GIRL of  
  
maybe 18 years with short blond hair who is sitting in front of a house with a guitar, her opened guitar case on the ground beside her.  
  
The GIRL is playing a sad song, and her voice as she is singing along shows that she  
  
sings about her own hopeless life. The reason why her play attracts people, though, is an  
  
amazing light show that the girl doesn't seem to notice. Those few street lamps that are not  
  
broken seem to flicker in the rhythm, and flashes of colourful light appear, seemingly from  
  
out of nowhere.  
  
LOGAN approaches the spot where the GIRL is sitting. A mildly astounded expression on  
  
his face, he listens to the song for a few seconds, then pulls a few coins out of his pocket  
  
and throws them into the girl's guitar case before he moves on.  
  
The GIRL'S POV:  
  
BACK VIEW OF LOGAN walking down the street.  
  
CLOSE ON THE GIRL. She continues playing, but isn't as absorbed as before, her gaze  
  
following Logan. When Logan turns around a corner, she grabs the coins from her guitar  
  
case, hurls the guitar inside and closes the lid on which green, snake-like eyes are painted.  
  
She nods at the HOMELESS PEOPLE who gently applaud, takes the case and follows  
  
Logan down the street.  
  
  
  
EXT. A NARROW ALLEY - CONTINUED ACTION  
  
The alley that connects two streets is covered with litter. Trash, cardboard boxes and  
  
heaps of something we rather don't want to identify are piled up at house walls on both  
  
sides.  
  
We see a FRONT VIEW OF LOGAN as he walks, and in the background the GIRL entering  
  
the alley, slowly dropping her guitar case.  
  
LOGAN stops, obviously on alert because he heard a sound.  
  
The GIRL notices that he heard her and walks closer to him.  
  
LOGAN slowly turns around. He looks at the GIRL, immediately recognizing her.  
  
LOGAN  
  
You. What do you want?  
  
GIRL  
  
Your wallet, Rich Man. If you don't  
  
make any trouble, I won't hurt you.  
  
LOGAN smiles sympathetically.  
  
  
  
CONTINUED:  
  
LOGAN  
  
Buzz off, kid. I'm not in the mood.  
  
LOGAN turns to go.  
  
The GIRL is stunned by his reaction, but in the next instant, she reaches down for her  
  
right leg.  
  
CLOSE ON THE GIRL'S LOWER LEG where a jack-knife is hidden under her ragged jeans.  
  
She pulls it out and straightens herself.  
  
The GIRL'S POV:  
  
BACK VIEW OF LOGAN walking. Suddenly the sound of the EXTENDING JACKKNIFE is  
  
HEARD, and he tenses.  
  
LOGAN  
  
Kiddie, you better don't do that.  
  
The GIRL raises the knife, a tight grin on her face.  
  
GIRL  
  
Oh yeah? Why?  
  
LOGAN  
  
'Cause I don't wanna hurt you.  
  
GIRL  
  
I'll tell ya something, Bigmouth. I've been  
  
living on the streets for quite a while, and  
  
I'm the one with the knife.  
  
So who's gonna hurt who, huh?  
  
The GIRL has now reached Logan and is standing directly behind him, the knife raised.  
  
CLOSE BACK VIEW OF LOGAN: We HEAR the sound of WOLVERINE'S EXTENDING  
  
CLAWS, and in the same instant, he spins around.  
  
CLOSE ANGLE ON THE GIRL'S FACE as she stares at WOLVERINE. She raises the  
  
knife until it is closely in front of her face. We see that the BLADE has been neatly CUT  
  
OFF.  
  
We ZOOM OUT until we see both of them, the GIRL standing like a statue, WOLVERINE  
  
slowly retracting his claws.  
  
GIRL  
  
You're a mutant!  
  
LOGAN gives her a look half reproaching, half sad, turns around and walks away.  
  
GIRL (V.O.)  
  
Rich Man!  
  
LOGAN ignores her.  
  
We see the GIRL as she hurls the remains of the knife to the ground.  
  
GIRL  
  
You don't just walk away from Dazzler.  
  
Not tonight, pal.  
  
CONTINUED (2):  
  
DAZZLER raises her hands to her face and utters a soft, but very high-pitched sound. She  
  
forms a bowl with her hands, and as if she had filled them with sound, a reddish light  
  
starts to glow between them. She stretches out her arms as if she was reaching for Logan.  
  
LOGAN'S keen senses tell him that there is something going on behind him. About 20 yards  
  
away from Dazzler, he stops and turns around.  
  
DAZZLER utters a shrill yell, and a dazzling white ray of light emerges from her hands. It  
  
hits LOGAN straight in the chest and flings him a good 30 feet through the air before he  
  
crashes into a pile of cardboard boxes and trash. There he lies on his back, unmoving.  
  
DAZZLER clenches her fists and presses them to her chest, her eyes wide open with  
  
shock. Although she knew what she was doing, she apparently didn't intend to strike  
  
Logan with such a force.  
  
After staring at him for a few seconds, she slowly moves towards him.  
  
We approach LOGAN, shown from DAZZLER'S POV.  
  
DAZZLER kneels down beside him and feels for a pulse. She slowly pulls her hand back,  
  
and in her face we read that she didn't find anything.  
  
DAZZLER  
  
Shit. Sorry, pal. Powers ain't easy  
  
to control, guess you knew.  
  
She strokes his hair, her eyes glistening with what could be, but needn't be, tears.  
  
DAZZLER  
  
Let's see what you've got.  
  
She searches the pockets of his jacket, where she finds only a flat metal box with cigars.  
  
DAZZLER  
  
Yuk, El Disgusto brand.  
  
She drops the cigars and starts searching Logan's jeans pockets. In one pocket, she finds  
  
coins and a single Dollar bill. When she reaches in a back pocket, a grin shows that she  
  
found something. She pulls her hand out, holding a bundle of bills. When she regards the  
  
money, her jaw drops in disappointment.  
  
DAZZLER  
  
Canadian.  
  
(beat)  
  
Oh, what the heck.  
  
DAZZLER puts the money into her own pocket, and with an almost sad look at Logan, she  
  
stands up and turns to go.  
  
She has almost reached the entrance of the alley where she dropped her guitar case  
  
when a low GROAN is HEARD.  
  
DAZZLER spins around.  
  
LOGAN utters another low moan and weakly tries to sit up - without success.  
  
DAZZLER gives him an insecure look, and her hand wanders to the pocket where she put  
  
his money.  
  
  
  
CONTINUED (3):  
  
While she is still standing in the same spot, FIVE YOUNG MEN, obviously a street gang,  
  
appear on the other end of the alley, shouting and laughing.  
  
An instant later, they see LOGAN who doesn't even notice them.  
  
An exceptionally THIN YOUTH in black leather clothes, apparently the GANG LEADER,  
  
raises his hand.  
  
GANG LEADER  
  
Look what we've got here.  
  
The OTHER GANG MEMBERS laugh and form a circle around Logan, obstructing  
  
Dazzler's view at him.  
  
One of the boys, we'll call him GANG MEMBER #1, kicks Logan.  
  
GANG MEMBER #1  
  
He's finished.  
  
GANG LEADER  
  
He's finished when I say he is.  
  
He's still good for some fun.  
  
The GANG LEADER also kicks Logan, so hard that he utters another moan that can  
  
be heard by DAZZLER.  
  
DAZZLER  
  
Leave him alone!  
  
Only one of the younger gang members, we'll call him GANG MEMBER #2, turns  
  
around and looks at her.  
  
GANG MEMBER #2  
  
It's the mutant!  
  
All the other boys now look at her, too.  
  
DAZZLER  
  
I said, leave him alone!  
  
The GANG LEADER emerges from the group, apparently scared but still trying to seem  
  
cool.  
  
GANG LEADER  
  
Why should we?  
  
DAZZLER doesn't answer but only raises her hands, uttering a soft, high hum.  
  
ALL GANG MEMBERS talk at once, starting to retreat.  
  
GANG MEMBER #1 seizes the gang leader by his jacket.  
  
GANG MEMBER #1  
  
Come on, she's doing it again.  
  
Do you want to be fried?  
  
With a LOW CURSE, the GANG LEADER turns around and follows his men who are  
  
running down the alley.  
  
  
  
CONTINUED (4):  
  
DAZZLER heaves a sigh and loosely drops her arms to her side. Then she walks towards  
  
LOGAN, who has managed to sit up meanwhile.  
  
DAZZLER  
  
You okay?  
  
LOGAN  
  
You crazy?  
  
DAZZLER  
  
Listen, I'm sorry. I didn't mean to -  
  
With a quick movement, LOGAN grabs her throat, and all of a sudden, DAZZLER is lying on  
  
the ground with Logan kneeling over her.  
  
LOGAN  
  
You could've killed me!  
  
DAZZLER  
  
Don't get me wrong, but I thought I did.  
  
LOGAN hesitates, but doesn't let go of her. With his free hand, he touches his chest that is  
  
seriously burned under the scorched remains of his shirt.  
  
LOGAN  
  
I'll live.  
  
DAZZLER  
  
Hey, I tell you somethin'. I give you back  
  
your money, you let me go, and  
  
we'll act as if this never happened.  
  
LOGAN  
  
Yah, sure.  
  
DAZZLER  
  
Why don't we just -  
  
LOGAN presses a little harder, and DAZZLER falls silent.  
  
LOGAN  
  
Let me think. Oh darn, couldn't you have  
  
mugged somebody else?  
  
LOGAN stands up and pulls DAZZLER up with him.  
  
LOGAN  
  
You're coming with me.  
  
DAZZLER  
  
What? Where - oh come on, you can't  
  
take me to the cops.  
  
LOGAN  
  
Who said I was gonna do that?  
  
LOGAN picks up a strip of plastic from the ground and ties DAZZLER'S hands behind her  
  
back.  
  
  
  
CONTINUED (5):  
  
DAZZLER  
  
Hey, you pervert, what's that supposed to be?  
  
What about my guitar, anyways?  
  
LOGAN totally ignores her, dragging her behind him as he walks down the alley and  
  
towards the street. A menacing look on his face, he starts to talk to himself.  
  
LOGAN  
  
700 miles for nothin'. Freaking kids playin'  
  
games. Should've known better than that.  
  
Should've just killed her.  
  
We see DAZZLER becoming more scared with every word he says.  
  
FADE OUT.  
  
  
  
  
  
EXT. THE BAR - SHORTLY AFTER  
  
For want of a pillion, LOGAN roughly heaves DAZZLER on the back edge of the motorbike's  
  
seat, and after short consideration, puts his jacket around her shoulders. Then he mounts  
  
the bike and starts the engine.  
  
DAZZLER  
  
Where are we going?  
  
LOGAN  
  
New York.  
  
Ignoring her protest, LOGAN lets the engine roar and speeds down the street.  
  
FADE OUT.  
  
  
  
FADE IN: INT. A CLASSROOM IN PROFESSOR XAVIER'S SCHOOL - DAY  
  
PROFESSOR X is sitting in front of about 15 students, on a chalkboard behind him  
  
drawings that look like he's giving a physics lesson.  
  
We HEAR the DOOR BEING OPENED, and all heads turn. Also PROFESSOR X looks up.  
  
VIEW AT THE DOOR with SCOTT sticking his head inside.  
  
PROFESSOR X  
  
Scott, what is it?  
  
SCOTT  
  
We have a new student. You should come  
  
and see her.  
  
PROFESSOR X  
  
Oh, fine. I will greet her as soon as I  
  
finished my lesson.  
  
SCOTT  
  
Professor, Logan brought her. You should  
  
really have a look at this.  
  
CONTINUED:  
  
PROFESSOR X  
  
All right. Students, please finish your task.  
  
When you are done, you are free for  
  
an early break.  
  
Approving MURMUR among the students.  
  
PROFESSOR X steers his wheelchair out of the room while SCOTT holds the door open for  
  
him.  
  
  
  
INT. A ROOM IN THE SUBLEVELS OF THE SCHOOL - SHORTLY AFTER  
  
LOGAN stands with his legs apart, arms crossed in front of his chest and looks at something o.s. with an expression of amusement. We see the door open behind him, and  
  
PROFESSOR X comes in, followed by SCOTT.  
  
  
  
After a short glance at Logan, PROFESSOR X concentrates on the o.s. person Logan has been looking at.  
  
  
  
PROFESSOR X  
  
Hello, and welcome at my school for the gifted.  
  
I am Charles Xavier.  
  
  
  
DAZZLER is sitting on a wooden chair, her arms crossed just like Logan's.  
  
  
  
DAZZLER  
  
Hi.  
  
  
  
PROFESSOR X looks puzzled as Dazzler doesn't seem enthusiastic about her arrival.  
  
  
  
PROFESSOR X  
  
Did Logan tell you about this place?  
  
  
  
DAZZLER  
  
So far, he hasn't even told me his name.  
  
This is kidnapping, you know.  
  
  
  
PROFESSOR X offers her his hand.  
  
  
  
PROFESSOR X  
  
Come, dear. I will show you around.  
  
  
  
DAZZLER doesn't stand up or take the Professor's hand.  
  
  
  
PROFESSOR X  
  
Nobody is going to do you any harm here.  
  
  
  
DAZZLER  
  
Oh yeah?  
  
  
  
DAZZLER lifts her elbows, and we see that she is tied to the chair so tightly that she can't even move her hands.  
  
  
  
DAZZLER  
  
And what about this? I'm gonna sue  
  
your collective asses.  
  
  
  
CONTINUED:  
  
  
  
PROFESSOR X  
  
Logan!  
  
  
  
LOGAN  
  
Hey, cool it. See what she did to me?  
  
  
  
LOGAN opens his jacket to show his burned shirt.  
  
  
  
LOGAN  
  
She nearly killed me. I had to protect myself.  
  
  
  
PROFESSOR X  
  
I think we can handle this. Scott?  
  
  
  
SCOTT walks over to the chair and unties Dazzler.  
  
  
  
DAZZLER rubs her wrists and shakes her hands to make the blood circulate.  
  
  
  
DAZZLER  
  
Thanks. I've been tied up since Chicago,  
  
you know.  
  
  
  
PROFESSOR X  
  
Well then, I think I introduced myself.  
  
What is your name?  
  
  
  
DAZZLER  
  
The real one?  
  
  
  
PROFESSOR X  
  
Whichever one you prefer.  
  
DAZZLER  
  
Alison. But my street name's Dazzler.  
  
PROFESSOR X  
  
I was told that you are a mutant. What is  
  
your gift?  
  
ALISON  
  
You call that a gift?  
  
PROFESSOR X  
  
It can be one. It depends on what you  
  
make of it. This school is a safe place  
  
to live and learn for young mutants,  
  
just like you.  
  
ALISON  
  
(looks at LOGAN)  
  
Well, not quite like me. That guy's got claws.  
  
PROFESSOR X  
  
(smiles)  
  
Yes, I know. Well, Alison, if you tell us what  
  
your gift is, we can help you control and use it.  
  
  
  
  
  
CONTINUED (2)  
  
:  
  
ALISON  
  
Using it ain't the problem.  
  
(beat)  
  
But I could need some help with the  
  
control part.  
  
PROFESSOR X  
  
We will be happy to help you there.  
  
He offers her his hand again, and this time, she takes it, stands up and leaves the room with  
  
him.  
  
SCOTT grins at Logan.  
  
SCOTT  
  
And yet another rebel.  
  
WOLVERINE  
  
You wanna tell me something, Bub?  
  
WOLVERINE pushes Scott aside and walks out of the room.  
  
SCOTT rubs his shoulder.  
  
SCOTT  
  
Oh yeah, he's not used to it.  
  
FADE OUT.  
  
  
  
EXT. THE SCHOOL'S BACKYARD - DAY  
  
ORORO MONROE and a BOY of approximately 14 years are standing a few yards away  
  
from a target.  
  
ORORO  
  
That was great, now try and focus on  
  
the target rather than on the shape  
  
of the bolt.  
  
BOY  
  
Okay.  
  
The BOY closes his eyes, and from a fountain beside him, a small ball of water rises,  
  
changes shape until it has a pointed tip, and after hovering in the air for another second,  
  
it suddenly darts right through the bull's eye of the target.  
  
ORORO  
  
Yes, now you get the point!  
  
ORORO looks up and sees PROFESSOR X, DAZZLER, SCOTT and LOGAN approaching.  
  
She pats the boy's shoulder.  
  
ORORO  
  
That's enough for now. Go and have some  
  
fun with your friends.  
  
The BOY nods and dashes off.  
  
CONTINUED:  
  
PROFESSOR X  
  
Ororo, I'd like to introduce you to Alison.  
  
Alison, this is Ororo Monroe, or Storm.  
  
Would you like her to show you around and  
  
help you get acquainted with the facility and  
  
the other students?  
  
ALISON  
  
Sure, why not?  
  
ALISON and ORORO walk away, ORORO obviously telling Alison about the school.  
  
LOGAN sits down on the edge of the fountain, looking after them.  
  
PROFESSOR X  
  
It was good that you brought her here, but  
  
what about your search?  
  
LOGAN  
  
After 15 years, a few days more don't matter.  
  
I'll set out tonight.  
  
SCOTT opens his mouth to say something, but PROFESSOR X is faster.  
  
PROFESSOR X  
  
You might want to take a car. It's cold in the  
  
Canadian Rockies.  
  
LOGAN  
  
I don't have a car. Mine blew up, remember?  
  
PROFESSOR X  
  
Maybe you want to take one of the school's cars?  
  
LOGAN  
  
I don't think I'd like the school's cars.  
  
PROFESSOR X  
  
You might want to have a look at them first.  
  
CUT TO:  
  
  
  
INT. THE SCHOOL'S GARAGE - SHORTLY AFTER  
  
Along with the Professor's car, there are a few others, including a seemingly old Pick-Up  
  
truck.  
  
LOGAN, SCOTT and the PROFESSOR approach the car.  
  
LOGAN  
  
Nice car.  
  
PROFESSOR X  
  
I thought you might like it. It is not your average  
  
pick-up, though. It has a few little extras that might  
  
help you on your journey.  
  
LOGAN  
  
Extras.  
  
CUT TO:  
  
  
  
EXT. AN EMPTY HIGHWAY - SUNSET  
  
Logan's CAR driving along at normal speed.  
  
  
  
INT. THE CAR'S COCKPIT - CONTINUED ACTION  
  
CLOSE ON THE DASHBOARD that is equipped with some extra buttons. We PAN  
  
ACROSS THE DASHBOARD from LOGAN'S POV and focus on a button that resembles the  
  
turbo button on Scott's motorbike.  
  
CLOSE ANGLE ON LOGAN'S FACE who grins and slowly lifts his hand to press the button.  
  
  
  
EXT. THE SAME EMPTY HIGHWAY - CONTINUED ACTION  
  
Logan's CAR racing off into the sunset at enormous speed, leaving only a trail of dust that  
  
slowly settles once the car is out of the frame.  
  
FADE OUT.  
  
  
  
  
  
INT. THE WAR ROOM IN THE SCHOOL'S SUBLEVELS - NIGHT  
  
The room is austere and cool like every room in the lower levels of the school. White tiles  
  
cover the walls and the floor, and the only piece of furniture is a large metal table.  
  
PROFESSOR X, ORORO, SCOTT and JEAN GREY are sitting around the table. The  
  
Professor is holding a small device in his hand that looks like a wristwatch.  
  
SCOTT  
  
This little thing is the pocket version of Cerebro?  
  
PROFESSOR X  
  
Well, not exactly, but it works as a kind of remote  
  
scanner. Whenever you are in town, I want you to  
  
carry it with you. Using it, you can find mutants  
  
that the main Cerebro device already detected  
  
within remarkable distance.  
  
JEAN  
  
This sounds like we're recruiting.  
  
PROFESSOR X  
  
Well, in a sense we are. We don't know what  
  
Magneto and his associates are capable of,  
  
even now that he is imprisoned. It can't hurt  
  
to show young mutants the right side before  
  
they can be corrupted by the rebellious ones.  
  
And as we have seen, many live on the streets,  
  
without friends, shelter or hope. We should try  
  
and give as many of them a home as we can.  
  
CONTINUED:  
  
SCOTT takes the device and turns it in his hands.  
  
SCOTT  
  
How does it work?  
  
FADE OUT.  
  
  
  
INT. A DORM ROOM IN THE SCHOOL - NIGHT  
  
The room that was obviously decorated by a girl is furnished with two sets of bed, cupboard  
  
and desk, one apparently not yet occupied.  
  
MARIE is lying on her bed reading a book, dressed in casual but dark clothes.  
  
THE DOOR opens, and ALISON comes inside, accompanied by ORORO.  
  
  
  
ORORO  
  
Hello Marie. I have a roommate for  
  
you if you'd like.  
  
MARIE  
  
Sure.  
  
MARIE stands up and puts her book on the mattress.  
  
MARIE  
  
Hi, I'm Marie.  
  
ALISON offers her hand.  
  
ALISON  
  
Alison.  
  
MARIE takes her hand, and ALISON shows a puzzled look because of the gloves she is  
  
wearing.  
  
ORORO  
  
I take it that you two have a lot to tell each other.  
  
Good night!  
  
MARIE and ALISON  
  
Good night!  
  
ORORO leaves and closes the door, and the two girls look at each other. It is silent for a few  
  
seconds.  
  
Finally, ALISON points at Marie's white strand of hair.  
  
ALISON  
  
Cool hair.  
  
MARIE  
  
Thanks.  
  
CUT TO:  
  
  
  
INT. THE SAME DORM ROOM - LATER THAT NIGHT  
  
Both girls are lying each on her bed. ALISON is now wearing new clothes that obviously  
  
come from Marie's cupboard.  
  
ALISON  
  
So you can take other mutants' powers?  
  
MARIE  
  
Not only their powers. I always take a little  
  
of their energy, their life force if you want to  
  
use that word. But I think I'm slowly getting  
  
some degree of control. Maybe someday I  
  
can use this power to help, not only to steal.  
  
ALISON  
  
I'm pretty sure you'll get this settled somehow.  
  
A beat as the girls look at each other, Marie less optimistic than Alison.  
  
MARIE  
  
So where are you from?  
  
ALISON  
  
Chicago.  
  
MARIE  
  
Chicago? Did you tramp here? How did you  
  
find the school, anyway?  
  
ALISON  
  
You could say the school found me. I bumped  
  
into that hairy guy with the claws. He brought  
  
me here, and I can tell ya, I didn't go voluntarily.  
  
MARIE  
  
Logan?  
  
ALISON  
  
Yeah, that's him. Do you know him?  
  
MARIE  
  
He was here?  
  
ALISON  
  
Yeah, why? Don't tell me you like him?  
  
MARIE  
  
Well…  
  
ALISON  
  
Did I miss something about him? This guy's  
  
got no manners. He's rude and behaves  
  
like some left-over caveman.  
  
MARIE  
  
He saved my life.  
  
  
  
  
  
CONTINUED:  
  
ALISON  
  
Now this gives the matter a whole new point  
  
of view.  
  
(beat)  
  
Sorry if I said something wrong.  
  
MARIE  
  
It's okay. You just don't know him yet.  
  
ALISON  
  
Yeah, not yet.  
  
(beat)  
  
G'night.  
  
MARIE  
  
Night.  
  
They press each other's hand over the gap between the beds, and MARIE turns off the light.  
  
As the LIGHTS GO OUT, we  
  
FADE OUT.  
  
  
  
FADE IN: INT. A HALL IN THE PRISON WHERE MAGNETO IS KEPT - NIGHT  
  
The walls and floor are covered with white shiny tiles. Behind a round desk covered with  
  
monitors, two young guards are sitting.  
  
GUARD #1, a likeable tall man in his mid-twenties with short blond hair, stands up.  
  
GUARD #1  
  
Hey Danny, call of nature. Could you  
  
open the door for me?  
  
DANNY, a just as likeable young man with short brown hair, nods.  
  
DANNY  
  
Okay. Man, my daughter's little puppy  
  
bears it longer than you, Jeff.  
  
JEFF grins.  
  
JEFF  
  
Just open the door, pal.  
  
JEFF walks towards a solid metal door and waits until DANNY has pressed a button on the  
  
panel in front of him. The door opens, and JEFF looks back at Danny.  
  
JEFF  
  
You still in for the baseball game  
  
tomorrow night?  
  
DANNY  
  
Wouldn't miss that on your life.  
  
JEFF waves and walks outside. The door closes behind him.  
  
  
  
CONTINUED:  
  
We see a monitor from DANNY'S POV. It shows the corridor on the other side of the door  
  
where JEFF walks in quite a hurry.  
  
DANNY leans back on his chair and grins. He looks at a few other monitors that show more  
  
corridors and rooms, including the one where MAGNETO is sitting, far away from any metal  
  
objects. Then his attention is again caught by the first monitor. It shows JEFF who waves.  
  
DANNY grins, shakes his head and presses a button, and the door opens.  
  
JEFF enters the hall, and still smiling, he walks back to the desk. Casually, he assumes  
  
position behind Danny's chair, places his hands on his shoulders, and with a sudden  
  
movement, takes his head and turns it. A DULL SNAPPING SOUND IS HEARD, and  
  
DANNY slumps in his chair.  
  
JEFF'S eyes turn yellow, and in this instant, we realize that it is MYSTIQUE. Whether it has  
  
been her all the time or only from the point on that she returned from the restrooms as Jeff,  
  
we'll never learn.  
  
MYSTIQUE, now in her original blue shape, presses another button, and the door opens  
  
again.  
  
FOUR MEN, obviously mutants, come inside. MUTANT #1 is a tall man with short black  
  
hair and strange silvery skin. He radiates authority as if he was the leader of the troop. We  
  
recognize the second one as SABRETOOTH, the third one is small with red skin. He wears  
  
black shorts and a black tank top that reveal sharp spikes on his arms and legs. MUTANT #4  
  
is a tall, muscular man with white hair.  
  
SABRETOOTH walks towards the desk, reaches across it and softly touches MYSTIQUE'S  
  
chin with one finger.  
  
SABRETOOTH  
  
Well done, Mystique.  
  
(to MUTANT #4)  
  
Riptide, I need you over here.  
  
(to the RED-SKINNED MUTANT)  
  
Foxbat, guard the door.  
  
RIPTIDE comes over to the desk while FOXBAT assumes position at the door, and quickly  
  
presses a few buttons.  
  
RIPTIDE  
  
Well then, let's get him out of there.  
  
RIPTIDE grins at MYSTIQUE who smiles back, and RIPTIDE, MYSTIQUE and  
  
SABRETOOTH march towards another door while MUTANT #1 stays in the room with  
  
FOXBAT, leaning against the desk in a relaxed and expectant posture.  
  
  
  
EXT. A STREET IN DOWNTOWN NEW YORK - DAY  
  
Many people are on the street, minding their own business as they follow the human river  
  
downstream.  
  
SCOTT stands on the sidewalk, wearing a coat and a baseball hat and the inevitable  
  
sunglasses. He is wearing the Cerebro scanner on his left wrist like a watch, and the device  
  
gives low beeps and a flashing light signal.  
  
  
  
CONTINUED:  
  
  
  
We assume SCOTT'S POV and PAN ACROSS THE STREET as he looks around searching  
  
for the mutant that Cerebro has apparently detected, but in the broiling mass of people, it is  
  
impossible to find a single person, even if he or she is a mutant.  
  
CLOSER ANGLE ON A YOUNG WOMAN who is about to walk on the street without  
  
watching her steps.  
  
A BUS approaches her from the left.  
  
SCOTT raises his head in alarm as he sees what is about to happen, but he is too far away  
  
to intervene.  
  
At the same time, we see a YOUNG MAN with long blond hair, wearing a leather jacket and  
  
blue jeans, who has also seen the peril coming. With an impossibly long and high leap, he  
  
jumps on the street and pulls the woman out of the way, only a split second before she can  
  
be hit by the bus. He loses his balance and threatens to fall on the street and right against  
  
the still moving bus, but somehow he manages to stay on his feet and makes a step further  
  
into the safety of the sidewalk.  
  
SCOTT frowns and looks at the Cerebro scanner, obviously suspecting that the young man  
  
might be the mutant he has been looking for.  
  
While SCOTT makes his way towards the young man through the crowd, the woman flings  
  
her arms round the man's neck and gives him a kiss. They both laugh, and the YOUNG MAN waves at the woman as he turns and walks away.  
  
  
  
SCOTT needn't follow him any further as the YOUNG MAN bumps right into him.  
  
  
  
SCOTT  
  
How did you do that?  
  
  
  
YOUNG MAN  
  
What - oh, the bus. Luck, I guess.  
  
  
  
SCOTT  
  
I've never seen anybody jump like this.  
  
  
  
YOUNG MAN  
  
I'm in training.  
  
  
  
SCOTT scrutinizes the man, and we see that the black leather gloves he's wearing each  
  
only have three fingers and a thumb.  
  
  
  
SCOTT  
  
No, I think you might be something else.  
  
  
  
The YOUNG MAN looks around like he was afraid of somebody eavesdropping their conversation.  
  
  
  
YOUNG MAN  
  
I've got to go.  
  
  
  
SCOTT  
  
Wait, I'm a friend.  
  
  
  
YOUNG MAN  
  
Oh yeah? Why should I believe you?  
  
  
  
SCOTT  
  
I'm of your kind.  
  
CONTINUED (2):  
  
  
  
YOUNG MAN  
  
Even if. Everybody for himself.  
  
  
  
SCOTT  
  
And why did you help this woman?  
  
  
  
YOUNG MAN  
  
I couldn't just let her die. I think that's quite  
  
a reason.  
  
  
  
SCOTT  
  
Why not do it big style? Trust me. We're a group of,  
  
uh, people, that try to save mankind, or at least  
  
do our share. Heard about that big light wave  
  
at the U.N. summit?  
  
YOUNG MAN  
  
Your job?  
  
SCOTT  
  
We prevented it from erasing Manhattan's  
  
population.  
  
YOUNG MAN  
  
Not bad.  
  
SCOTT  
  
Do you at least want to come with me  
  
and have a look at what we're doing  
  
and how we're living?  
  
YOUNG MAN  
  
Can't do any harm.  
  
SCOTT  
  
My name's Scott Summers.  
  
YOUNG MAN  
  
Call me Longshot.  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE - DAY  
  
PROFESSOR X is sitting behind his desk with MARIE and ALISON sitting in front of it.  
  
PROFESSOR X  
  
Well, Alison, have you settled into the school  
  
already?  
  
ALISON  
  
I've had some help, Professor.  
  
PROFESSOR X  
  
(smiles)  
  
I'm glad that you and Marie get along so well.  
  
We HEAR a KNOCKING at the door.  
  
  
  
CONTINUED:  
  
PROFESSOR X  
  
Yes, come in, please.  
  
SCOTT opens the door and lets Longshot enter first.  
  
PROFESSOR X  
  
Ah, you found him. Welcome. I'm Charles  
  
Xavier. You are at my School for Gifted  
  
Youngsters, but of course you needn't be  
  
a teenager to be accommodated. These  
  
are two of my students, Alison and Marie.  
  
LONGSHOT nods and gives them a grin and a look from irresistibly green eyes.  
  
LONGSHOT  
  
Ladies.  
  
MARIE and ALISON smile back.  
  
PROFESSOR X  
  
(to MARIE and ALISON)  
  
If you could excuse us now - I have to  
  
introduce our new guest to the school.  
  
MARIE  
  
Sure. Bye Professor, bye Scott.  
  
MARIE and ALISON walk towards the door and wink at Longshot as they walk past him.  
  
MARIE and ALISON  
  
(to LONGSHOT)  
  
Bye.  
  
CUT TO:  
  
  
  
INT. THE CORRIDOR IN FRONT OF THE OFFICE - CONTINUED ACTION  
  
MARIE and ALISON fling their arms round each other's neck and dance through the  
  
hallway, chuckling like the schoolgirls that they are.  
  
ALISON  
  
Did you see this cutie?  
  
MARIE  
  
Oh, I so hope he'll stay at the school.  
  
ALISON  
  
Aw, the way he smiled at us. Awesome.  
  
They take each other's hand and walk down the corridor, still chuckling and curiously  
  
watched by a few BOYS that have left a classroom nearby.  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE - SAME TIME  
  
PROFESSOR X  
  
Please, sit down.  
  
CONTINUED:  
  
LONGSHOT sits down on a chair while SCOTT remains standing and looks around in the  
  
room.  
  
LONGSHOT  
  
Nice place.  
  
PROFESSOR X  
  
Thank you. So, may I ask your name?  
  
LONGSHOT  
  
It's Longshot.  
  
PROFESSOR X  
  
Only Longshot?  
  
LONGSHOT nods.  
  
The PROFESSOR seems nonplussed, but doesn't inquire any further.  
  
PROFESSOR X  
  
And may I also ask what exactly your mutation is?  
  
LONGSHOT  
  
Wait a sec - how can you know? I mean,  
  
we just got here. You didn't send Scott to get  
  
me here, did you?  
  
PROFESSOR X  
  
Well, actually I did. We have a device that can  
  
detect mutants. Unfortunately, it can't tell us what  
  
their gift is.  
  
LONGSHOT  
  
Why do I have the feeling I've just been recruited?  
  
We see a CLOSE-UP on Scott who grins.  
  
PROFESSOR X  
  
Of course you are free to go at any time.  
  
LONGSHOT  
  
Didn't feel like a prisoner in the first place.  
  
Okay, you guys seem to be okay. You wanted  
  
to hear about my mutation. I'm proud to say  
  
that it consists of two little changes compared  
  
to your average homo sapiens. First of all,  
  
my bones are hollow, so to say. It makes them  
  
really light, which can be quite a cool thing to have.  
  
SCOTT  
  
And mutation number two?  
  
LONGSHOT  
  
Luck.  
  
SCOTT  
  
Excuse me?  
  
CLOSE on the PROFESSOR who arches an eyebrow.  
  
CONTINUED:  
  
LONGSHOT  
  
As long as I don't abuse it, I have literally  
  
infallible luck that almost always pulls me through.  
  
SCOTT  
  
Sorry, but I have a problem with that.  
  
Luck as a mutation?  
  
LONGSHOT  
  
Call it a PSI power. Whatever you call it,  
  
it works.  
  
PROFESSOR X  
  
Would you agree on some tests?  
  
Nothing painful, only checks on your health  
  
and of course your mutation.  
  
LONGSHOT  
  
Whatever is necessary.  
  
PROFESSOR X  
  
Scott will leave you in the capable hands  
  
of Dr. Jean Grey, a gifted scientist and  
  
promising PSI talent.  
  
LONGSHOT nods, stands up and follows Scott outside.  
  
The PROFESSOR thoughtfully leans back, folding his hands in front of his chest like for  
  
prayer.  
  
FADE OUT.  
  
  
  
INT. A LAB ROOM IN THE SUBLEVELS OF THE SCHOOL - SHORTLY AFTER  
  
LONGSHOT is lying on an examination table in a lab room that looks exactly like the one  
  
where Wolverine has once been examined, while JEAN works on a computer nearby,  
  
jealously guarded by SCOTT.  
  
LONGSHOT  
  
So you guys fight against this Brotherhood  
  
of Mutants because they want to kill all  
  
normal humans?  
  
JEAN  
  
Well, last time, they wanted to transform them  
  
all into mutants.  
  
SCOTT  
  
Which sooner or later would have had the  
  
same effect.  
  
LONGSHOT  
  
But right now their boss, this Magneto,  
  
is safely locked up?  
  
  
  
  
  
CONTINUED:  
  
JEAN  
  
For now, he is. But we have to be on guard.  
  
And even if it's not for the normal people,  
  
you still have a safe place to live here.  
  
LONGSHOT  
  
Well, until now I always got along somehow.  
  
I'm lucky, you know.  
  
LONGSHOT winks at JEAN who smiles back.  
  
JEAN  
  
I see.  
  
SCOTT steps between them.  
  
SCOTT  
  
(to JEAN)  
  
Are you done with your tests?  
  
JEAN  
  
Almost. I just have to finish this calculation…  
  
Okay, he's yours again.  
  
LONGSHOT  
  
(to JEAN)  
  
And whenever you need me, I'll be all  
  
yours, Ma'am.  
  
He has hardly stood up from the table when SCOTT roughly pulls him towards the door.  
  
They leave the room, and SCOTT slams the door shut.  
  
JEAN remains in the room, smiling.  
  
  
  
INT. THE CORRIDOR IN FRONT OF THE LAB ROOM - SECONDS LATER  
  
LONGSHOT stops and forces Scott to come to a halt, too.  
  
LONGSHOT  
  
Hold it, Scott.  
  
SCOTT  
  
What?  
  
LONGSHOT  
  
I'm not blind, pal. The lady is yours.  
  
Just can't help turning on the old charm  
  
when women of her calibre are around.  
  
You okay now?  
  
SCOTT sheepishly releases Longshot and shrugs.  
  
SCOTT  
  
Sorry.  
  
LONGSHOT  
  
Never mind.  
  
CONTINUED:  
  
They walk down the corridor, this time considerably more slowly.  
  
CUT TO:  
  
  
  
  
  
INT. A LIVING ROOM IN MAGNETO'S MANSION - NIGHT  
  
CLOSE ON MAGNETO who is sitting on a sofa with a cup of tea in his hand. In the  
  
background we see a flickering fireplace.  
  
MALE VOICE (O.S.)  
  
I can almost see them in their neat little  
  
school, wondering what our next move  
  
might be.  
  
MAGNETO  
  
(looking up)  
  
You speak of us as if we were a team.  
  
A MAN WITH SILVERY SKIN AND SHORT BLACK HAIR, the one we know from the prison,  
  
enters the screen, smiling quietly.  
  
MAGNETO  
  
I did not ask you to free me, Nathaniel.  
  
NATHANIEL  
  
But aren't you glad to be home again,  
  
with your loved ones?  
  
MAGNETO  
  
My time would have come. With you or  
  
without you.  
  
NATHANIEL  
  
Without me, it might have taken a little  
  
too long, old friend. But not to worry, I'm  
  
happy to help you.  
  
MAGNETO  
  
But it will have a price.  
  
NATHANIEL  
  
Certainly.  
  
MYSTIQUE enters the screen and sits down beside Magneto while a BLOND WOMAN  
  
appears beside Nathaniel.  
  
NATHANIEL  
  
Ah, Vertigo. How are you doing in our  
  
little workshop?  
  
VERTIGO  
  
We had a few problems but now everything  
  
runs smoothly.  
  
CLOSE ON NATHANIEL - in his face, the flames in the fireplace are reflected.  
  
  
  
CONTINUED:  
  
NATHANIEL  
  
Excellent.  
  
(beat)  
  
(turning to MAGNETO)  
  
What do you think, old friend?  
  
Shall we lure the rabbits out of  
  
their burrow?  
  
MAGNETO quietly looks at him, still holding his cup of tea.  
  
CLOSE-UP ON NATHANIEL who grins amusedly, the silvery skin on his face still  
  
reflecting the fire.  
  
FADE OUT.  
  
  
  
  
  
EXT. A DESERTED MILITARY COMPOUND IN CANADA - NIGHT  
  
The scenery is a wooded area in the mountains. We see the silhouette of a wire netting  
  
fence in front of trees and shrubs - it is nearly dark. Then we HEAR the SOUND OF A CAR APPROACHING, and its headlights illuminate a sign saying "MILITARY AREA - NO TRESPASSING. USE OF DEADLY WEAPONS APPROVED", before the car even comes into the picture.  
  
  
  
Then it enters the frame, and we see that it is Logan's pick-up. The car stops in front of the fence, its headlights still pointed at the sign, until the car's engine is turned off, the headlights fade and LOGAN gets out of the car.  
  
  
  
While he is walking towards the fence, he extends his claws, and when he reaches it, we HEAR adamantium CUTTING through steel, and the sign falls to the ground, together with a door-sized piece of the fence.  
  
  
  
LOGAN scents to all sides and glances at the full moon before he slips through the hole in the fence.  
  
  
  
LOGAN'S POV:  
  
We see his way through the woods and rocky clearings.  
  
  
  
When he parts shrubs to move on, he hesitates, and as we follow his gaze through between the bushes, we realize why. A large complex of buildings covers several thousand square yards, and in the cold white light of the moon, it looks like a Nazi concentration camp.  
  
  
  
CLOSE-UP on LOGAN'S shocked face. His eyes widen before a memory flashback hits him, and he closes them.  
  
  
  
CUT TO:  
  
  
  
  
  
MEMORY FLASHBACK FROM LOGAN'S POV:  
  
INT. A LABORATORY  
  
PEOPLE in strange alien-like suits walk around, everybody seems to know what he is doing.  
  
  
  
CUT TO:  
  
  
  
EXT. A JAIL-LIKE YARD - DAY  
  
Several MEN in simple, grey uniforms stand around or walk slowly, most of them looking bored, some rather scared. All men seem to be in excellent physical shape.  
  
  
  
Still from Logan's POV, we approach an exceptionally tall man from behind and pat his shoulder. The man turns around, and for the split second that we can see his face, we are almost entirely sure that it is Sabretooth.  
  
  
  
END OF MEMORY FLASHBACK  
  
  
  
CUT TO:  
  
  
  
EXT. THE SAME MILITARY COMPOUND - CONTINUED ACTION  
  
CLOSE-UP ON LOGAN'S FACE, slowly ZOOMING OUT until we see his whole upper body  
  
and his chest pumping as he breathes heavily, still staring at the complex.  
  
LOGAN shakes his head, stands up and walks through the gap he created between the  
  
bushes.  
  
CUT TO:  
  
  
  
EXT. THE SAME MILITARY COMPUND, AT THE FIRST BUILDINGS  
  
LOGAN walks towards the buildings and therefore towards us. His whole body tense, we  
  
only wait for him to extend his claws, but he doesn't do so.  
  
We follow him as he walks through the compound, leaving some buildings disregarded as if  
  
he'd been here before and knew where to go. Finally, he steers towards a small building.  
  
Not wasting any time by trying if the door is locked, he forces it open.  
  
CUT TO:  
  
  
  
INT. THE BUILDING - CONTINUED ACTION  
  
The DOOR crashes into the room, stirring up a huge cloud of dust.  
  
We see WOLVERINE'S SILHOUETTE in the doorframe for a second before he steps into  
  
the room.  
  
WOLVERINE'S POV:  
  
The inside of the room looks like an office, with lots of filing cabinets, two desks and several  
  
cupboards and empty shelves. It looks like it has been left in a hurry, for there are sheets of  
  
paper lying everywhere.  
  
WOLVERINE walks up to a filing cabinet and tears the top drawer open. A METALLIC  
  
SOUND tells us that there has probably been a lock in the way, but Wolverine hasn't even  
  
noticed its resistance. He pulls out the few files that are left in the drawer and puts them on  
  
the table, only to walk back to the cabinet and start the same procedure with the second  
  
drawer.  
  
CLOSER ANGLE ON THE DESK where a giant heap of files is piled up. Another bunch of  
  
papers is hurled on the already swaying heap, and a few sheets of paper flutter to the  
  
ground.  
  
CONTINUED:  
  
WOLVERINE drops on the edge of the table and starts to pull out single files, obviously not  
  
knowing what exactly he is looking for. Suddenly, the picture of a man that is attached to the  
  
front page inside a file folder causes another MEMORY FLASHBACK.  
  
CUT TO:  
  
  
  
MEMORY FLASHBACK - WOLVERINE'S POV  
  
EXT. THE JAIL-LIKE YARD - DAY  
  
One of the men is called out, and we see that it is the MAN FROM THE PICTURE in the file.  
  
A crooked grin on his face, the MAN waves at the others and leaves the yard through a small  
  
gate. He is accompanied - or guarded? - by TWO SOLDIERS in uniforms that we have  
  
never seen before.  
  
CUT TO:  
  
  
  
EXT. THE SAME YARD - SUNSET  
  
The yard is much emptier than before, and only a few men are standing or sitting around.  
  
Still from WOLVERINE'S POV, we look up and over at the soldiers who give us an expectant  
  
look. We follow them.  
  
CUT TO:  
  
  
  
INT. THE OFFICE IN THE BUILDING - DUSK  
  
  
  
A MAN with a brown buzz-cut and in the same uniform as the soldiers, only with more chevrons on his shoulder flaps, looks at us with a pitying expression, then back at a file that is lying on the desk in front of him. He says something, but we only HEAR a low HUMMING and an accelerated HEARTBEAT pounding seemingly right in our heads.  
  
The man keeps talking, and from an INDEPENDENT POV we see that LOGAN rises from his chair and slams his fists on the desk. Suddenly the two soldiers are at his side and hold his arms. The man nods at them, and they drag Logan out of the room.  
  
  
  
CUT TO:  
  
  
  
  
  
INT. A LABORATORY  
  
  
  
LOGAN is lying on a slab, tied to it at his wrists, ankles, waist and neck with broad leather strips. We see the same felt-tip markings on his body that we saw in the FLASHBACKS OF PART 1, and we realize that he is about to get the adamantium crafted to his skeleton.  
  
  
  
MEN with masks on their faces approach him, holding instruments straight from a medieval torture chamber. The picture twists, and we don't know how much of this is a real memory, and how much a nightmare.  
  
  
  
  
  
CUT TO:  
  
INT. A ROOM INSIDE OF MILITARY BARRACKS - NIGHT  
  
LOGAN is lying on a bed, not tied anymore, but obviously in agonizing pain. He writhes and helplessly raises his hands towards the ceiling as if there was somebody to help  
  
(more)  
  
CONTINUED:  
  
him. All of a sudden, three claws pop out from between the knuckles of his right hand, and  
  
he screams in pain. An expression of disbelief on his face, he stares at the shiny metal  
  
before he raises both arms again and yells in despair and frustration.  
  
END OF MEMORY FLASHBACK  
  
CUT TO:  
  
  
  
INT. THE OFFICE INSIDE THE BUILDING - NIGHT  
  
LOGAN sits on a chair behind the desk, his face hidden in his hands. He slams his fists on  
  
the desktop, and with the back of his right hand, he sweeps the files from the desk.  
  
We see that some of the files remaining on the table are simply marked with single letters,  
  
and we see a  
  
CLOSE-UP ON A FILE MARKED WITH AN "X"  
  
LOGAN looks up and at the file. Slowly, he takes it and opens it, and on the front page, there  
  
is a picture of him.  
  
Now trembling - we don't know whether it is with wrath or fear -, LOGAN closes the file  
  
again. He takes it and puts it under his jacket, and as if he couldn't get out of the office  
  
quickly enough, he stands up so fiercely that he painfully hits his knees on the desk. He  
  
doesn't even notice it but hurries out of the office.  
  
CUT TO:  
  
  
  
EXT. THE AREA OF THE MILITARY COMPOUND - NIGHT  
  
LOGAN runs away from the buildings and into the forest, not minding his way the least bit.  
  
He pants heavily and presses his right arm to his belly, thus holding the file under his jacket.  
  
CUT TO:  
  
  
  
EXT. THE OUTSIDE OF THE MILITARY COMPOUND - NIGHT  
  
LOGAN tears open the door of his car, climbs inside and drops on the driver's seat.  
  
  
  
INT. LOGAN'S CAR - CONTINUED ACTION  
  
The door still open, LOGAN heavily leans on the steering wheel, and in the white light of the  
  
moon, we see hundreds of small scratches on his hands and face that now quickly heal.  
  
When his skin is intact again, also Logan has calmed down. He takes the file out from under  
  
his jacket and carelessly flings it on the front-passenger seat. With trembling fingers, he  
  
rams the key in the ignition lock and turns it.  
  
  
  
EXT. THE OUTSIDE OF THE MILITARY COMPOUND - CONTINUED ACTION  
  
When the CAR'S engine is started, the headlights flash up and illuminate the fence, now with  
  
(more)  
  
CONTINUED:  
  
a hole where the sign used to be. The engine roars, and the car backs up until it has left the  
  
picture.  
  
We HEAR TIRES scratching over gravel, gears being switched so roughly that the  
  
transmission utters a rebellious CRACK, and again an ENGINE ROARING.  
  
As the sound fades, also the picture  
  
FADES OUT.  
  
  
  
FADE IN: EXT. THE BACKYARD OF XAVIER'S SCHOOL - DAY  
  
CLOSE ANGLE ON A SHRUB behind which MARIE and ALISON are cowering. Both girls  
  
chuckle and motion each other to be quiet.  
  
We PAN to follow their looks and see LONGSHOT strolling down a path that leads past the  
  
shrub. When he has passed them, he hesitates but doesn't turn around.  
  
LONGSHOT  
  
I have a feeling like there's a mutant  
  
ambush going on here.  
  
MARIE and ALISON chuckle, but don't reveal their position.  
  
LONGSHOT  
  
Pity. I could've sworn I heard somebody.  
  
Looks like I'll have to sit in the sun all alone  
  
and eat that ice-cream I got myself on my own.  
  
This is gonna be some stomach-ache.  
  
LONGSHOT moves on.  
  
Another CLOSE-UP on the shrub where MARIE and ALISON jump up.  
  
MARIE and ALISON run after Longshot and link arms with him.  
  
Together, ALISON, LONGSHOT and MARIE walk down the path.  
  
CUT TO:  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE - DAY  
  
PROFESSOR X, ORORO and JEAN are sitting in their chairs, apparently waiting for  
  
something or somebody.  
  
The DOOR is opened, and SCOTT bursts inside the room.  
  
SCOTT  
  
I was told it was urgent.  
  
We now see that PROFESSOR X is holding an envelope.  
  
PROFESSOR X  
  
It is. I have received word that Magneto  
  
has escaped.  
  
CONTINUED:  
  
SCOTT  
  
What?  
  
PROFESSOR X  
  
He is said to have had help.  
  
SCOTT  
  
Mystique?  
  
PROFESSOR X  
  
Not only. Scott, I'm afraid we will have to  
  
deal with an old adversary of ours.  
  
PROFESSOR X hands Scott the envelope, and SCOTT opens it and takes out a few  
  
photographs.  
  
CLOSE ON A PHOTOGRAPH, a printout from a surveillance video, marked with date and  
  
time, showing Nathaniel, the man with the silvery skin, standing in the supervision room in  
  
the prison.  
  
ORORO  
  
It's Dr. Nathaniel Essex.  
  
SCOTT  
  
Sinister!  
  
SCOTT looks up and flings the envelope and the pictures back on the desk.  
  
SCOTT  
  
Now it's personal.  
  
PROFESSOR X  
  
(with a placating look at SCOTT)  
  
We have to prepare for a fight. It will be  
  
hard, surely harder than last time. We are  
  
encountering two highly intelligent villains  
  
working together, and we don't know how  
  
many followers we are dealing with.  
  
SCOTT  
  
And we just lost a member of the team.  
  
PROFESSOR X  
  
The car I gave Logan contains a highly  
  
developed communications system. I already  
  
contacted him. He hasn't replied yet -  
  
SCOTT  
  
(laughs)  
  
Of course not.  
  
PROFESSOR  
  
But I expect him to report very soon.  
  
Until then, the remaining X-Men, that's you,  
  
Storm, and Jean, have to train.  
  
JEAN  
  
What about Rogue, or maybe Longshot?  
  
  
  
CONTINUED:  
  
PROFESSOR X  
  
Rogue is way too young, she is merely a child.  
  
We can't allow her to be involved in such a  
  
dangerous situation. Of course Longshot isn't  
  
a teenager anymore, but we don't know  
  
what level of control he has over his powers.  
  
SCOTT  
  
So it's a three-men X-team against an unknown  
  
number of enemies. Great. I love challenges.  
  
ORORO  
  
(to the Professor)  
  
Have you thought of a special training?  
  
PROFESSOR X  
  
Oh yes, it is quite special. I have yet to find  
  
an appropriate name for it, but meanwhile,  
  
we'll just call it the Danger Room.  
  
CUT TO:  
  
  
  
INT. THE DANGER ROOM - DAY  
  
It is a large room, about 50 feet high, which looks quite harmless at first sight. The walls are  
  
white and smooth, and there is a silver metal cone, 30 feet long and about 5 feet in diameter,  
  
hanging from the ceiling.  
  
CYCLOPS, JEAN and STORM, now in their X-Men uniforms, are standing next to the door  
  
that is almost invisible in the wall.  
  
Now we HEAR PROFESSOR XAVIER'S VOICE coming from a loudspeaker that we don't  
  
see, and by PANNING around the room, we see a window, about 10 by 5 feet, far above.  
  
The figure behind the pane can hardly be recognized as PROFESSOR X.  
  
PROFESSOR X (V.O.)  
  
This room has been designed to measure  
  
and train your specific abilities. It will adjust  
  
to your level of skill and therefore always be  
  
one step ahead of you. Oh, and you can't beat  
  
it, if you were going to ask this. You will train  
  
here so that you succeed in a real battle.  
  
You are here to learn and grow, not to become  
  
self-confident. There is no way that the machine  
  
can be overpowered or outwitted.  
  
STORM  
  
Why do you call it Danger Room?  
  
All of a sudden, sharp blades extend from the cone, and the thing starts rotating, first very  
  
slowly.  
  
PROFESSOR X (V.O.)  
  
Because it can be quite dangerous in there.  
  
Be on guard, children.  
  
STORM, JEAN and CYCLOPS seek cover when the cone's rotation accelerates, and when  
  
(more)  
  
CONTINUED:  
  
they learn that they have to keep moving to dodge the blades, Cyclops starts shooting laser  
  
beams at the metal construction. Blades are cut off and start flying through the room, closely missing the three X-Men.  
  
CYCLOPS  
  
Jean, can you catch the blades and divert  
  
them so that they don't move into our direction?  
  
JEAN  
  
I can try.  
  
JEAN raises her hands and protects them from the flying blades that CYCLOPS shoots off  
  
the cone, but now we see that where gaps are created in the arms of the machine, new  
  
blades grow almost instantly.  
  
CYCLOPS  
  
It's a Hydra!  
  
JEAN  
  
It's useless, Scott! They are growing faster  
  
than you can cut them off.  
  
CYCLOPS desperately looks at the cone, and when he blasts a good piece away from the  
  
top of the machine, we see a  
  
CLOSE ON A TUBE from which cooling liquid drips and freezes whatever it touches.  
  
CYCLOPS  
  
Already giving up? Storm, freeze it!  
  
STORM'S eyes turn all white, and her coat fills out with a wind that doesn't come from the  
  
machine. Static energy creates little blue flashes of lightning around her head, and around  
  
the top of the cone, snowflakes that are torn-away bits of the cooling liquid whirl faster and  
  
faster until they create a solid shell of ice around it that grows downwards until the cone  
  
looks like a giant stalactite. With an unpleasant screeching sound, the cone slows down, and  
  
its rotation comes to a halt.  
  
STORM  
  
This was too easy.  
  
They stand tensely and expectantly, and really, seemingly from out of nowhere, laser beams  
  
flash all around them, some of them hitting the cone and melting the ice shell off. The floor  
  
gets all slippery from the water, and the three X-Men struggle to stay on their feet while  
  
dodging blades and laser beams.  
  
CYCLOPS slips and falls, and although JEAN tries to give him a telekinetic push to get him  
  
out of the line of fire, a laser beam hits his leg and leaves a smoking mark on his uniform.  
  
CYCLOPS screams in surprise and gets on his feet, not seeing the blade that is coming right  
  
his way from behind. JEAN sees the peril coming, but can't do anything.  
  
JEAN  
  
Scott, watch out!  
  
CYCLOPS turns around, but the blade is already so close that he can't dodge it. Just before  
  
it can decapitate him, the machine stops, and also the laser beams don't buzz around them  
  
anymore.  
  
We see a CLOSE-UP on CYCLOPS'S NECK where the blade had stopped from full swing,  
  
so close to his neck that it touches his skin.  
  
CONTINUED (2):  
  
CLOSE ANGLE on CYCLOPS who pants heavily, trying not to make a false move.  
  
PROFESSOR X (V.O.)  
  
Well done! You did a marvellous job for the first time.  
  
With a SOUND that resembles Wolverine's SNIKT, the blades vanish inside the cone, the  
  
water trickles away into the floor within a split second, and the room looks as peaceful as  
  
before.  
  
CYCLOPS, JEAN and STORM stand like frozen, looking around as if waiting for more  
  
surprises to come.  
  
FADE OUT  
  
  
  
  
  
FADE IN: INT. A MEDICAL LAB ROOM IN THE SUBLEVELS OF THE SCHOOL - DAY  
  
Wearing civilian clothes again, JEAN treats a small burn wound on SCOTT'S thigh. He is  
  
sitting on a slab, only wearing shorts and sunglasses. ORORO is leaning on a table nearby,  
  
following the conversation.  
  
SCOTT  
  
He's going to kill us before we even get  
  
out of this place!  
  
JEAN  
  
I don't think so, Scott.  
  
ORORO  
  
This machine makes us use our brains  
  
as well as our gifts, and it's not designed  
  
to kill anybody, Scott.  
  
SCOTT  
  
I still don't think this is a good idea.  
  
We'll be fighting real people, not machines.  
  
JEAN  
  
It might be the best training we can get.  
  
SCOTT  
  
We should be working on a plan instead.  
  
JEAN puts down her instruments and touches Scott's shoulder.  
  
JEAN  
  
Scott, we all know what you went through  
  
in Sinister's orphanage. What he did to you  
  
is just as inhuman as what has been done to  
  
Logan. But we need to know what Magneto  
  
and Sinister are going to do. Unless we  
  
know their plans, we can't think of one  
  
ourselves.  
  
ORORO  
  
I think what he means is that we should act,  
  
not react. But Scott, this would mean we're no  
  
better than them.  
  
CONTINUED:  
  
SCOTT  
  
If it helps us get rid of them, I couldn't care less  
  
about morals.  
  
JEAN  
  
Please. The Professor knows what he's doing.  
  
Trust him.  
  
SCOTT  
  
We'll see.  
  
FADE OUT  
  
  
  
  
  
INT. JEAN'S ROOM - NIGHT  
  
We see JEAN'S image in a mirror as she is trying to close the fastener of a necklace behind  
  
her neck.  
  
We HEAR a KNOCKING at the door.  
  
JEAN  
  
Come in!  
  
Still looking into the mirror, we see the door open behind her. LONGSHOT comes in.  
  
LONGSHOT  
  
Hi. I hope I'm not disturbing…  
  
JEAN  
  
No, please come in. Can I help you?  
  
LONGSHOT  
  
Actually, yes. All this talk about the X-Men,  
  
your mission to protect innocent humans  
  
and so on, this really sounds great. But I feel  
  
useless. I want to be part of it.  
  
While he was talking, LONGSHOT has approached Jean and is now standing behind her, a  
  
little to the right.  
  
JEAN  
  
Professor Xavier wants to chart your abilities  
  
before you can join us on our missions.  
  
LONGSHOT  
  
I'd undergo any examination, however painful,  
  
to do something useful again.  
  
JEAN  
  
(smiles)  
  
Now this won't be necessary. There are only  
  
a few tests we have to do on you.  
  
(beat)  
  
Meanwhile, could you help me? I don't  
  
seem to be too dexterous tonight.  
  
  
  
CONTINUED:  
  
LONGSHOT steps closer and takes the ends of the necklace. All of a sudden, we see the  
  
white in his eyes, and with a short sound of surprise, he makes a small step forward and  
  
leans on Jean's shoulders.  
  
JEAN stands up and supports him.  
  
JEAN  
  
Are you okay?  
  
LONGSHOT  
  
(astounded)  
  
Scott gave this to you.  
  
JEAN  
  
Yes, but how do you know?  
  
LONGSHOT  
  
I have no idea. When I touched it, I  
  
could suddenly see its past. This has  
  
never happened before.  
  
JEAN  
  
Actually you're too old to develop new mutant  
  
skills. This is strange. I wonder if this has  
  
anything to do with my own PSI talents.  
  
LONGSHOT  
  
No matter how, but I can tell you that this  
  
guy really loves you. Keep him.  
  
LONGSHOT gives Jean a look that shows that he knows more than he just told her, and  
  
JEAN returns a little smile.  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE - SHORTLY AFTER  
  
PROFESSOR X sits in his wheelchair in front of his desk, with JEAN and LONGSHOT  
  
standing in front of him.  
  
PROFESSOR X  
  
Psychometric powers? How very unusual.  
  
And this is the first time you noticed that  
  
you have this gift?  
  
LONGSHOT  
  
Yeah.  
  
JEAN  
  
It's possible that there is so much PSI  
  
power concentrated in this place that it  
  
somehow triggered an ability that has  
  
been there before and that has maybe  
  
just been buried.  
  
PROFESSOR X  
  
A reasonable theory.  
  
  
  
CONTINUED:  
  
LONGSHOT  
  
Professor, I know that I'm new and all,  
  
and I shouldn't be running around asking  
  
for things, but as I told Jean, I want to  
  
be part of the team.  
  
PROFESSOR X  
  
(smiles)  
  
I was already wondering when you would  
  
ask. You are so keen on helping people  
  
that it was a matter of time until you would  
  
want to be an X-Man.  
  
LONGSHOT  
  
(carefully)  
  
So?  
  
PROFESSOR X  
  
Jean, if you take him downstairs, I think  
  
there should be a new uniform that would  
  
fit him perfectly.  
  
JEAN nods with a smile, then she leaves the room, dragging an enthusiastic LONGSHOT  
  
behind her who is leaning over the desk and seemingly doesn't want to let go of Professor  
  
Xavier's hand.  
  
When the door has closed, we see a CLOSE ON PROFESSOR X whose smile fades and is  
  
replaced by a pensive expression.  
  
PROFESSOR X  
  
With this enemy outside, we need all the  
  
luck we can get.  
  
FADE OUT  
  
  
  
INT- THE SCHOOL'S ENTRANCE HALL - NIGHT  
  
The hall is empty and quiet. Suddenly we HEAR the ROARING OF AN ENGINE and  
  
SCREECHING tires as a car stops outside.  
  
The door is torn open, and LOGAN comes inside, obviously very agitated. He marches down  
  
the hallway, fiercely running his hand through his hair several times. At one point, he stops  
  
and seems to think about turning around and leaving again, but in this instant, the lights  
  
upstairs are switched on, and on the upper end of the staircase, MARIE and ALISON  
  
appear. MARIE'S face brightens up as she recognizes Logan.  
  
MARIE  
  
Logan!  
  
MARIE runs down the stairs, followed more slowly by ALISON, and flings her arms round his  
  
neck. LOGAN doesn't return the hug but even winces a little.  
  
LOGAN  
  
Hi Kid.  
  
MARIE notices that there is something wrong with him, and steps back.  
  
  
  
CONTINUED:  
  
MARIE  
  
What is it?  
  
LOGAN  
  
Nothin', Kiddie. I'm just tired.  
  
LOGAN turns to go up the stairs, and MARIE quickly takes off the dog tags he gave her  
  
before he left and that she has been wearing around her neck, and holds them up.  
  
MARIE  
  
Wait! You said you'd be back for these.  
  
LOGAN  
  
Keep 'em.  
  
(beat)  
  
(lowly)  
  
I may not be finished yet.  
  
LOGAN now walks up the stairs, past ALISON who gives him a funny look.  
  
MARIE stares at his back, grasping the dog tags tightly. ALISON comes down to her and  
  
lays an arm around her shoulder.  
  
ALISON  
  
Let him get some sleep. I'm sure he'll be  
  
easier to talk with tomorrow.  
  
MARIE  
  
Yeah, probably.  
  
They walk back up the stairs, and we  
  
FADE OUT  
  
  
  
FADE IN: INT. MARIE'S ROOM - MORNING  
  
CLOSE ANGLE on MARIE'S upper body and face as she wakes up. After she has opened  
  
her eyes, she looks insecure for a moment, trying to recall something that happened the  
  
night before. Then she smiles and pulls her blanket off.  
  
MARIE quietly stands up, obviously trying not to wake her roommate. In her nightshirt and  
  
barefoot, she sneaks out of the room.  
  
CUT TO:  
  
  
  
INT. A CORRIDOR IN THE SCHOOL - SHORTLY AFTER  
  
MARIE stands in front of a door and knocks. When there is no reply, she knocks again.  
  
MARIE  
  
Logan?  
  
MARIE knocks again. When there still is no answer, she carefully opens the door.  
  
CUT TO:  
  
  
  
INT. LOGAN'S ROOM - CONTINUED ACTION  
  
We see Logan's empty room, looking at the door across the bed.  
  
The door is opened, and MARIE looks inside.  
  
MARIE  
  
Logan? Are you there?  
  
MARIE looks around, and the camera FOCUSES on the BED when MARIE sees the file  
  
lying on the mattress, marked with an "X".  
  
MARIE comes closer, and after looking around again, she drops on the bed and takes the  
  
file, fiddling around with it, but not opening it. Suddenly the picture of Logan that was  
  
attached to the first page falls out.  
  
MARIE looks at the picture, then opens the file to put it back inside. Suddenly her eyes  
  
widen, and she starts to read, leafing through the file quickly once, then starting all over  
  
again. Her eyes fill with tears, and she looks at the door like she expected to see Logan  
  
come inside any moment. She closes the file with a jerky movement, drops it and stands up,  
  
moving towards the door.  
  
MARIE  
  
(still looking for him, now sounding scared)  
  
Logan!  
  
  
  
INT. A CORRIDOR IN THE SUBLEVELS OF THE SCHOOL - DAY  
  
JEAN stands there, dressed in her black uniform, apparently waiting for somebody, and after  
  
a second, a sliding door opens with a HISS, and LONGSHOT comes out wearing his  
  
uniform.  
  
LONGSHOT  
  
So, what am I wearing this for? We  
  
tried it last night, and it fits.  
  
JEAN  
  
Today we are going to find out how you  
  
move in it. Follow me.  
  
  
  
INT. ANOTHER CORRIDOR - CONTINUED ACTION  
  
JEAN walks down the corridor, followed by LONGSHOT. Suddenly, a loud ROW and  
  
METALLIC CLANKING and SCREECHING is HEARD.  
  
Both people stop.  
  
LONGSHOT  
  
What's that?  
  
JEAN  
  
I don't know.  
  
JEAN starts running, and LONGSHOT tries to keep pace.  
  
  
  
  
  
INT. THE DANGER ROOM'S CONTROL ROOM - SECONDS LATER  
  
PROFESSOR X is sitting in his wheelchair in front of the window to the Danger Room.  
  
SCOTT stands beside him, his face serious.  
  
The door is opened, and JEAN and LONGSHOT burst inside.  
  
JEAN  
  
What's going on?  
  
SCOTT  
  
(wryly)  
  
Logan has discovered the Danger Room.  
  
JEAN and LONGSHOT walk closer to the window. Here is what they see:  
  
  
  
VIEW INTO THE DANGER ROOM  
  
WOLVERINE is raging through the room, wearing jeans and a shirt. His claws extended, he  
  
runs around like a madman, uttering rough yells as he strikes for the blades and other  
  
weaponry that the machine offers. He totally ignores the laser beams that buzz around him  
  
and leave scorched spots on his skin and clothes.  
  
VIEW AT THE SPECTATORS  
  
LONGSHOT  
  
Who's that guy?  
  
JEAN  
  
What is he doing?  
  
SCOTT  
  
(dryly)  
  
Taking the Danger Room apart.  
  
PROFESSOR X  
  
I don't know why he is so furious, but it might  
  
have to do with what he found out in Canada.  
  
We should let him let off some steam.  
  
LONGSHOT  
  
He'll hurt himself.  
  
SCOTT  
  
Doesn't matter. And I'm not saying this  
  
because I don't like him.  
  
JEAN  
  
(to LONGSHOT)  
  
He'll heal within a few seconds.  
  
(to the PROFESSOR)  
  
But Professor, I've never seen him like  
  
this before.  
  
PROFESSOR X  
  
Neither have I. I will talk to him as soon as  
  
he is finished in there.  
  
  
  
CONTINUED:  
  
VIEW AT WOLVERINE IN THE DANGER ROOM as he is taking a deep breath, waiting for  
  
the next attack.  
  
FADE OUT  
  
  
  
FADE IN: INT. THE DANGER ROOM - LATER  
  
SCOTT, JEAN and LONGSHOT look at the remains of the machine that has literally been  
  
chopped into slices in some places. Metal lies on the ground everywhere, and there are  
  
deep scratches and even holes in the walls.  
  
  
  
SCOTT  
  
Thanks to Logan, there'll probably be no  
  
training today.  
  
LONGSHOT  
  
(looking at the blades)  
  
I've got to admit I'm glad to hear that.  
  
JEAN picks up a sharp piece of metal, and when she runs her finger over it, we see that it is  
  
blood-covered.  
  
JEAN  
  
I wonder what is driving him like this.  
  
CLOSER ANGLE ON JEAN holding the metal part, and we  
  
FADE OUT.  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE - DAY  
  
PROFESSOR X behind his desk, and LOGAN walking up and down in the room.  
  
LOGAN  
  
Don't you see? I'm a machine, a monster.  
  
I'm a living weapon, designed to kill. I don't  
  
belong here. I can't stay.  
  
PROFESSOR X  
  
You are agitated. You -  
  
LOGAN  
  
Oh yeah? Agitated, huh? Hm, let's see:  
  
a man without memory, running free, but  
  
having no control whatsoever over the rage  
  
that was planted into him. A danger to the  
  
lives of everybody around. Correct me if  
  
I'm wrong, but I think  
  
(shouts)  
  
I have a right to be agitated!  
  
LOGAN leans on the desk, and PROFESSOR X, who obviously doesn't understand what  
  
Logan is talking about, makes a placating gesture.  
  
  
  
CONTINUED:  
  
PROFESSOR X  
  
Please, calm down. Don't make any  
  
overhasty decisions. Stay here for a  
  
few days, and we'll try and help you.  
  
LOGAN  
  
Help me, help me. It's not always that  
  
easy, Professor. You may be psychic,  
  
but you're not almighty, you know.  
  
There are some things even you can't  
  
change.  
  
(beat)  
  
And I'm one of them.  
  
LOGAN fiercely turns around and heads for the door.  
  
PROFESSOR X  
  
Logan!  
  
LOGAN opens the door, rushes out and slams it shut behind him.  
  
CLOSE ON THE PROFESSOR who looks stunned and concerned.  
  
  
  
EXT. THE SCHOOL'S YARD - AFTERNOON  
  
BACK VIEW of LOGAN sitting on an erratic block in a quiet area of the school's yard.  
  
MARIE approaches him from behind.  
  
MARIE  
  
(carefully)  
  
Logan?  
  
LOGAN  
  
You're better off somewhere else, Kid.  
  
MARIE  
  
I want to be here now. And my name is  
  
Marie, not Kid.  
  
LOGAN turns his head and looks at her, mild amusement shimmering through his serious  
  
and worried expression.  
  
LOGAN  
  
Suddenly grown up, huh?  
  
MARIE climbs up onto the rock and sits down beside him.  
  
MARIE  
  
Still running?  
  
LOGAN  
  
Can't run away from this.  
  
MARIE  
  
That's what I used to think, too.  
  
  
  
CONTINUED:  
  
LOGAN  
  
What do you mean?  
  
MARIE  
  
My so-called gift. I thought it was a curse  
  
until I met you and the Professor.  
  
I'm learning now. Learning to control this  
  
power, to use it in the right way.  
  
LOGAN  
  
Yes, it works with some people.  
  
MARIE  
  
It can work with you, too.  
  
LOGAN  
  
(gives her a sharp look)  
  
What are you talking about?  
  
MARIE  
  
I - didn't mean to snoop around, but I -  
  
saw it.  
  
LOGAN  
  
You were in my room. I should have known.  
  
LOGAN jumps from the rock and quickly walks away.  
  
MARIE climbs down from the rock.  
  
MARIE  
  
Logan!  
  
The firm tone of her voice makes him stop, but he doesn't turn around.  
  
MARIE  
  
How can you just walk out on us?  
  
Now LOGAN turns around.  
  
LOGAN  
  
(angry yet surprised)  
  
Walk out on you?  
  
MARIE  
  
Yes. We need you. You can't just leave  
  
us alone here.  
  
(beat)  
  
Where do you want to go, anyway?  
  
LOGAN  
  
I'll find a place.  
  
LOGAN turns away and walks down the path.  
  
MARIE reaches for the dog tags under her shirt.  
  
MARIE  
  
(whispering)  
  
But your place is here.  
  
CONTINUED:  
  
CLOSE ON MARIE holding the tags through her shirt.  
  
FADE OUT  
  
  
  
INT. MARIE'S ROOM - SHORTLY AFTER  
  
ALISON is lying on her bed when MARIE opens the door and comes inside, still holding the  
  
dog tags, now over her shirt.  
  
ALISON  
  
He's gone, huh?  
  
MARIE drops on the bed, staring at the ceiling.  
  
MARIE  
  
He promised to protect me.  
  
(beat)  
  
He promised. And now he just walked away.  
  
MARIE looks at ALISON with tears in her eyes.  
  
ALISON stands up and drops on Marie's bed beside her. Carefully she strokes her hair,  
  
cautious not to touch her skin. As MARIE starts to weep, we  
  
FADE OUT.  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE - LATER THAT DAY  
  
PROEFSSOR X. sitting at his desk, writing something down when a KNOCKING at the door  
  
is HEARD.  
  
PROFESSOR X  
  
Come in, Rogue.  
  
MARIE comes inside and sits down on a chair in front of the desk.  
  
PROFESSOR X  
  
I take it that you want to talk about Logan.  
  
MARIE  
  
Did he talk to you?  
  
PROFESSOR X  
  
Yes, but he didn't tell me much, and it was  
  
all rather incoherent. I know quite a few things  
  
through my research, though. How much  
  
do you know?  
  
MARIE  
  
I'm afraid I might know more than you do.  
  
And I'm scared.  
  
PROFESSOR X  
  
For yourself?  
  
  
  
CONTINUED:  
  
MARIE  
  
For Logan.  
  
MARIE pulls a file out from under her shirt and puts it on the table.  
  
MARIE  
  
He left this here.  
  
PROFESSOR X opens the file and starts to read. After a while, he looks at Marie.  
  
PROFESSOR X  
  
This confirms my worst misgivings.  
  
Marie, I know that you want to, but we  
  
can't look for him and get him back now.  
  
He wouldn't return of his own free will,  
  
not yet. Please call the others. They have  
  
a right to know why Logan won't be with us  
  
in the battle that's ahead of us.  
  
FADE OUT  
  
  
  
  
  
INT. THE WAR ROOM - NIGHT  
  
STORM, CYCLOPS, JEAN, ROGUE, LONGSHOT and PROFESSOR XAVIER (in this order)  
  
have gathered around the table. The file marked with "X" is lying on the table in front of the Professor.  
  
LONGSHOT  
  
They created their own little team of  
  
sleepers? Scary.  
  
PROFESSOR X  
  
And it is probably the reason why Logan  
  
left in such a hurry. He's afraid of what he  
  
doesn't remember. All he knows is that he,  
  
together with a handful of other pitiable men,  
  
was taken away his memories, with  
  
fragmentary false memories implanted  
  
instead. His already fierce nature was rid  
  
of the control given to humans, so as to  
  
make him a merciless killer when his time  
  
would come. I believe that he and the others  
  
were chosen because of the mutation they  
  
have in common - the ability to heal quickly  
  
that also slows their aging process. It was this  
  
mutation that let them survive the implantation  
  
of the adamantium that was apparently crafted  
  
to the skeleton of each subject.  
  
SCOTT  
  
Those sleepers could be programmed years  
  
and years in advance.  
  
STORM  
  
Do we know who the other men are,  
  
and if they are still alive?  
  
CONTINUED:  
  
PROFESSOR X  
  
We don't, but Logan might. The experience  
  
of being confronted with his past might trigger  
  
some memories. The problem is that neither  
  
he nor we know if they are true or false.  
  
JEAN  
  
Would it be possible for you to scan his  
  
memories and help him remember?  
  
PROFESSOR X  
  
If he comes back, I can try. It might be  
  
necessary for us to combine our powers,  
  
as the barrier blocking his memories is  
  
very strong. Yet, whatever we find might  
  
still be an implanted memory.  
  
ROGUE  
  
(lowly)  
  
He must feel so lonely.  
  
LONGSHOT who is sitting next to Rogue puts an arm around her.  
  
LONGSHOT  
  
He'll be fine. And he'll come back. Hey, he'd  
  
be a fool to stay away from you longer than  
  
necessary.  
  
ROGUE returns a grateful smile.  
  
FADE OUT.  
  
  
  
INT. MARIE'S ROOM - NIGHT  
  
ALISON is sitting at her desk writing something, her back to the door. When the door opens  
  
behind her, she doesn't look up at first.  
  
ALISON  
  
Where have you been all day?  
  
Now ALISON looks up, to see MARIE enter the room with LONGSHOT standing outside.  
  
ALISON  
  
Oh.  
  
LONGSHOT  
  
(overlapping)  
  
Will you be okay?  
  
MARIE  
  
Yes, thanks.  
  
LONGSHOT  
  
Good night.  
  
LONGSHOT pats MARIE'S shoulder and nods at ALISON.  
  
  
  
CONTINUED:  
  
MARIE  
  
Night.  
  
MARIE drops on the bed, and ALISON turns back to her notepad.  
  
ALISON  
  
He's very caring.  
  
MARIE  
  
Yes, he is.  
  
ALISON  
  
Does he like you?  
  
MARIE  
  
I think so - oh, you mean °like°.  
  
Don't know.  
  
ALISON  
  
Hm. Do you like him?  
  
MARIE  
  
Yes.  
  
ALISON  
  
I mean, do you °like° him?  
  
MARIE  
  
Maybe. A bit.  
  
MARIE looks at the ceiling, and we see a CLOSER ANGLE ON ALISON who puts down her  
  
pen, on her face a mixture of happiness for her friend and sadness / envy.  
  
FADE OUT.  
  
  
  
INT. A HALLWAY IN THE SCHOOL - NIGHT  
  
The hallway is empty, except for SCOTT who is trying to keep pace with PROFESSOR  
  
XAVIER'S wheelchair.  
  
SCOTT  
  
All I'm saying, Professor, is that we  
  
should think about a pre-emptive strike.  
  
PROFESSOR X  
  
The answer is no, Scott. Until now,  
  
there haven't been any signs that Magneto  
  
and Essex are planning something.  
  
SCOTT  
  
You can't be serious. Two of the most  
  
vicious mutants in the world join forces,  
  
and you seriously believe they don't  
  
have some wicked plan in mind?  
  
  
  
  
  
CONTINUED:  
  
PROFESSOR X  
  
I don't say they haven't, but we can't  
  
attack them because they might scheme.  
  
I don't want to see you in a fight that was  
  
caused simply and solely by mutual aversion,  
  
even though I understand your hatred.  
  
SCOTT  
  
So we're the ones who keep the peace?  
  
But at what price? What if they attack °us°?  
  
The PROFESSOR stops his wheelchair and thus forces SCOTT to stop as well and listen to  
  
him.  
  
PROFESSOR X  
  
We will be prepared.  
  
(beat)  
  
°You° will be prepared.  
  
SCOTT  
  
(lowly)  
  
You better be right.  
  
SCOTT walks away in the opposite direction. We follow him for a second from XAVIER'S  
  
POV.  
  
  
  
EXT. A STREET IN DOWNTOWN NEW YORK - NIGHT  
  
Although it is already dark, there are still quite a few people on the streets. Suddenly, people  
  
on the sidewalk are pushed aside by a huge figure that we soon recognize as  
  
SABRETOOTH. Walking behind him are SINISTER, RIPTIDE and a TALL MAN who has  
  
somewhat reptile-like features. They are walking quickly and in a manner that looks like they  
  
knew exactly where they were going.  
  
And really - they steer towards the entrance of an upper-class hotel.  
  
CUT TO:  
  
  
  
INT. HOTEL LOBBY - NIGHT  
  
The lobby is crowded with journalists, and a desk has been set up at the far end of the hall.  
  
A sign near the door reads "Senator Gear Speaking Tonight". A man who we realize  
  
must be GEAR is standing behind the desk, talking to a few JOURNALISTS.  
  
The door is flung open, and the bunch of mutants comes inside, led by SINISTER. They walk  
  
through the lobby and straight towards GEAR. All heads turn toward them, and TWO  
  
BODYGUARDS in black suits step beside Gear.  
  
The mutants stop about two yards away from the desk, and SINISTER nods at the TALL  
  
MAN.  
  
SINISTER  
  
Tusk. Would you please…?  
  
TUSK nods and clenches his fists. He starts to shake a little, and out of his back, little  
  
creatures that look exactly like the mutant pop and drop to the ground.  
  
CONTINUED:  
  
THE BODYGUARDS seem insecure. With drawn weapons, they look at what is happening,  
  
unsure whether the strange incident means any danger to their protégé.  
  
All of a sudden, the LITTLE TUSKS pounce on THE BODYGUARDS who react too slowly.  
  
Within seconds, they have been disarmed and brought down by the little creatures. We don't  
  
see them as they disappear behind the table.  
  
SABRETOOTH walks towards the SENATOR and seizes him by his throat.  
  
SINISTER  
  
Your political course is steering this country  
  
directly into disaster. Don't you think it's  
  
time to  
  
(beat)  
  
change gear?  
  
SINISTER nods at SABRETOOTH who grabs the Senator's throat even tighter. GEAR  
  
breathes stertorously for a second, then slumps in Sabretooth's grasp.  
  
SINISTER turns towards the reporters who instinctively step back.  
  
SINISTER  
  
I couldn't help the pun. Please forgive me  
  
if it was too blatant.  
  
SINISTER takes a bow and nods at Sabretooth again.  
  
SABRETOOTH drops GEAR who limply falls on the table and lies there with his face down.  
  
THE LITTLE TUSKS return to TUSK and climb up his back to vanish below his skin.  
  
SINISTER walks towards the door, and SABRETOOTH, RIPTIDE AND TUSK follow him outside.  
  
Some of the journalists helplessly bend over the Senator while others assume position in  
  
front of their cameramen and start talking into their microphones frantically.  
  
  
  
FADE IN: EXT. REMOTE AREA OF XAVIER'S SCHOOL'S YARD - NIGHT  
  
LONGSHOT strolls down a path, his hands in his pockets. Suddenly we HEAR A FEMALE  
  
VOICE SINGING, very lowly at first. LONGSHOT raises his head and looks around, trying to  
  
locate the source of the sound. He then walks a few steps and stops at a tree, hiding behind  
  
it while he looks at something o.s.  
  
LONGSHOT'S POV:  
  
ALISON sits on a small rock with closed eyes. She sings the same sad tune that we have  
  
heard in the dark street in Chicago, just without accompanying herself on a guitar. A soft red  
  
glow illuminates her face, but there is no light source around.  
  
CLOSE ON LONGSHOT'S FACE that is half in the shadows behind the tree. There is  
  
fascination and a trace of surprise in his face, and then his expression turns pensive.  
  
FADE OUT.  
  
  
  
  
  
EXT. A SNOWY LANDSCAPE IN THE CANADIAN WILDERNESS - DAY  
  
We PAN OVER A SNOW-COVERED FOREST until we see a small cabin from whose  
  
chimney smoke emerges.  
  
Still SLOWLY PANNING, we HEAR the SOUND OF WOOD BEING CHOPPED.  
  
CLOSE-UP ON A PIECE OF WOOD falling to the ground.  
  
Now we see a BACK VIEW of WOLVERINE in jeans and a grey t-shirt with cut-off  
  
sleeves, who is putting another piece of wood on a trunk with his left hand. His right hand  
  
hangs loosely at his side, and we don't see it. Only when he raises his hand for a back  
  
swing, we see that he is not holding an axe, but has extended one of his claws to chop the  
  
wood.  
  
While WOLVERINE is working, we CIRCLE him until we see a giant heap of chopped wood  
  
behind him, stacked up at the wall of the house. We realize that he doesn't need all the wood  
  
to get through the winter but is rather seeking diversion.  
  
Now from the front, we see WOLVERINE work so frantically as if it was a matter of life and  
  
death to get the whole forest reduced to small pieces. He is not sweating, but the clouds that  
  
his fast breath forms show how exhausted he already is.  
  
After a while, WOLVERINE raises his right hand, and with a rough yell, he slams his claw on  
  
the piece of wood so fiercely that also the trunk is neatly cut in half. WOLVERINE retracts his  
  
claw, walks a few steps and heavily drops on a bigger trunk nearby.  
  
We ZOOM OUT from above until he is merely a tiny spot amidst the overwhelming  
  
landscape of the mountains.  
  
  
  
  
  
EXT. THE YARD OF XAVIER'S SCHOOL - DAY  
  
ORORO and ALISON are standing on the lawn. ORORO hangs up a target on a branch of a  
  
tree and walks over to Alison.  
  
ORORO  
  
Okay, try again.  
  
ALISON  
  
It's useless. It won't work.  
  
ORORO  
  
Remember what I told you. Don't spend  
  
yourself. Picture your hands as a  
  
floodgate, and open the gate only a little bit.  
  
ALISON  
  
Sounds so easy when you say it.  
  
ALISON takes a deep breath and shakes briefly like a young dog. Then she raises her hands  
  
and hums, and we see the well-known red glow between her hands. All of a sudden, a bright  
  
beam of light shoots towards the target and literally evaporates it.  
  
ALISON  
  
No!  
  
(to ORORO)  
  
I told you it wouldn't work.  
  
Before ORORO can reply anything, LONGSHOT enters the scene from behind.  
  
CONTINUED:  
  
LONGSHOT  
  
Looked good to me.  
  
LONGSHOT looks at the target.  
  
LONGSHOT  
  
Wouldn't let you light the grill, but the  
  
visual impression is excellent.  
  
ALISON  
  
That's not funny.  
  
LONGSHOT  
  
(seriously)  
  
Wasn't making fun of you.  
  
(to ORORO)  
  
May I borrow her for a while?  
  
ORORO nods.  
  
LONGSHOT offers Alison his arm.  
  
LONGSHOT  
  
Come on, let's talk.  
  
ALISON takes his arm, and they walk away.  
  
CUT TO:  
  
  
  
EXT. ANOTHER PART OF THE SCHOOL'S YARD - SHORTLY AFTER  
  
ALISON and LONGSHOT are sitting on the back rest of a bench, their feet on the seat.  
  
LONGSHOT  
  
Could you try to explain to me how  
  
exactly this fireball thing works?  
  
ALISON  
  
Somehow I can turn sound into light, or  
  
some kind of energy.  
  
I don't really understand it, but this  
  
seems to be the core of it.  
  
LONGSHOT  
  
So that's why you do this humming thing?  
  
ALISON  
  
Yes.  
  
LONGSHOT  
  
Uh, wait a sec.  
  
(beat)  
  
Could it be that there's already enough  
  
sound around?  
  
ALISON  
  
What do you mean?  
  
CONTINUED:  
  
LONGSHOT raises his index finger to his mouth and thus gestures ALISON to be quiet.  
  
They sit in silence for a while, and we HEAR CHILDREN LAUGHING, FOUNTAINS  
  
RIPPLING, BIRDS SINGING, THE WIND BEING CAUGHT IN THE TREES and MORE NATURAL SOUNDS.  
  
LONGSHOT  
  
It's never completely quiet.  
  
(beat)  
  
Pick a sound. Any sound. Focus on it  
  
and picture what it would look like if it  
  
was pure light. Hold it just between two  
  
fingers of your hand.  
  
LONGSHOT puts together the index finger and thumb of his left hand as he speaks.  
  
ALISON gives him an insecure look and closes her eyes.  
  
We HEAR ALL SOUNDS FADE EXCEPT FOR THE CHIRPING OF A SINGLE BIRD as we  
  
ZOOM IN ON ALISON'S FACE.  
  
ALISON raises her right hand in front of her face, bringing her index finger and thumb close  
  
together. A tiny ball of reddish light appears between them, and ALISON opens her eyes.  
  
LONGSHOT smiles at ALISON, and she smiles back, surprised and happy. ALISON opens  
  
her hand and softly blows at the little ball of light, and it leaves her hand and rises about two  
  
feet into the air before it explodes in a tiny shower of red light that looks like miniature  
  
fireworks.  
  
ALISON hugs LONGSHOT, but all of a sudden she releases him and gives him a sheepish  
  
smile.  
  
ALISON  
  
Thank you.  
  
LONGSHOT  
  
My pleasure. Well done, Songbird.  
  
ALISON  
  
Songbird?  
  
LONGSHOT  
  
I heard you last night.  
  
ALISON  
  
(surprised)  
  
I thought there had been nobody around.  
  
LONGSHOT  
  
(sheepishly)  
  
I didn't want to disturb you. I hope you're  
  
not angry with me.  
  
ALISON  
  
Uh, no.  
  
(beat)  
  
Did you like it?  
  
LONGSHOT  
  
Yes.  
  
CONTINUED (2):  
  
We see ALISON and LONGSHOT for another few seconds, sitting quietly, before we  
  
CUT TO:  
  
  
  
INT. MARIE'S ROOM - SHORTLY AFTER  
  
MARIE is sitting at her desk with several physics books in front of her.  
  
The door opens, and ALISON comes inside, a happy smile on her face. She walks over to  
  
her bed and jumps onto it, landing flat on her back.  
  
ALISON  
  
Ain't life great?  
  
MARIE looks up.  
  
MARIE  
  
Sometimes.  
  
(beat)  
  
Anything you want to tell me?  
  
ALISON  
  
(hesitates)  
  
No.  
  
(beat)  
  
Just having a blast of a day. Look!  
  
ALISON raises her index finger, and on its tip, a tiny reddish light ball appears. She flicks it in  
  
the air, and it bursts into another little firework.  
  
MARIE stands up, dashes over to ALISON and hugs her.  
  
MARIE  
  
You can control it. That's fantastic!  
  
A KNOCKING ON THE DOOR IS HEARD.  
  
MARIE and ALISON  
  
Come in!  
  
LONGSHOT opens the door. He looks at the two girls who both return an expectant look.  
  
LONGSHOT  
  
Hi.  
  
(beat)  
  
I just wanted -  
  
(beat)  
  
Ah, never mind.  
  
LONGSHOT retreats and closes the door behind him.  
  
Both girls look at the door, and MARIE is the first to turn to her friend again, seeing that  
  
ALISON obviously has a crush on Longshot.  
  
ALISON now looks at Marie, realizing that her feelings are all too visible for her.  
  
ALISON  
  
You like him, too, huh?  
  
CONTINUED:  
  
MARIE  
  
He likes you.  
  
ALISON  
  
You don't know that.  
  
MARIE  
  
I can see it.  
  
ALISON  
  
He seemed pretty irresolute to me.  
  
MARIE takes ALISON'S hand, which reminds us of her gloves again.  
  
MARIE  
  
I told you what happened to the  
  
first boy I kissed.  
  
ALISON looks away, very uncomfortably.  
  
MARIE  
  
You want to know if I like him? I do,  
  
and very much so. But don't you see  
  
the point?  
  
MARIE releases ALISON and raises her hands, showing her gloves.  
  
MARIE  
  
You learned to control your powers.  
  
I still have a long way to go, and sad  
  
as it is, I'll have to go it alone.  
  
ALISON  
  
(lowly)  
  
Not all alone.  
  
ALISON embraces MARIE, and the two girls sit on the bed, obviously very moved, without  
  
the previously noticeable subliminal tension between them.  
  
  
  
  
  
INT. A CORRIDOR IN THE SCHOOL - SAME TIME  
  
LONGSHOT hastily walks down the corridor and is approaching the staircase leading  
  
downwards when JEAN appears at the top of the stairs.  
  
JEAN  
  
Something happened.  
  
CUT TO:  
  
  
  
INT. THE WAR ROOM - SHORTLY AFTER  
  
PROFESSOR X, SCOTT AND ORORO are sitting at a table. JEAN AND LONGSHOT come  
  
inside, walk over to the table and sit down as well.  
  
  
  
CONTINUED:  
  
PROFESSOR X  
  
As we are present in full number now,  
  
I want to show you something that  
  
happened at the Royal Hilton last night.  
  
PROFESSOR X presses a button on a remote control, and a rectangular tile at the wall turns  
  
into a TV screen. It shows the incident at the hotel. When the camera turns on a reporter  
  
who comments the events, we PAN to PROFESSOR X.  
  
PROFESSOR X  
  
For those of you who haven't met him yet -  
  
the leader of this group of mutants is  
  
Dr. Nathaniel Essex, also called Sinister.  
  
He is a brilliant scientist, unfortunately with  
  
the wrong aims. Other than his genius,  
  
his gifts include an exceptional control over  
  
his body's molecules that allows him to  
  
change shape, among other things.  
  
LONGSHOT  
  
Well, choosing a silver skin certainly makes  
  
him eccentric then. Who are the others?  
  
PROFESSOR X  
  
They are all mutants. The tallest of them  
  
is called Sabretooth, an old acquaintance  
  
of ours. We thought him dead after our last  
  
encounter, but apparently he survived,  
  
which means that in addition to his abnormal  
  
strength, he must possess healing abilities  
  
similar to those that are given to Logan.  
  
The other tall mutant that produced smaller  
  
duplicates of himself was called Tusk by  
  
Sinister. I don't know if this is his only ability,  
  
but even so, he appears dangerous to me.  
  
His duplicates seem to have intelligence  
  
and act on their own yet together, which  
  
means that if you fight him -  
  
LONGSHOT  
  
(overlapping)  
  
You fight a whole bunch of -  
  
(beat)  
  
- "hims".  
  
PROFESSOR X  
  
Yes. The last mutant is unknown to me  
  
as well. I don't know his name or what he  
  
is capable of, so if you meet him, be very  
  
careful.  
  
LONGSHOT  
  
Meet him? You mean, we finally get out  
  
on the street?  
  
PROFESSOR X hits another button on the remote, and a different TV report appears on the  
  
screen, showing a JOURNALIST in front of another hotel.  
  
  
  
CONTINUED (2):  
  
JOURNALIST  
  
…that Senator Jameson has been missing  
  
from his hotel room since this morning. The  
  
police remain silent about the circumstances  
  
of his vanishing, but according to sources  
  
within the hotel, he might have been abducted  
  
by the same people who murdered Senator  
  
Gear last night. The politicians who are visiting  
  
New York for the conference that will take place  
  
in three days are scared, some have even  
  
announced their departure. Nobody knows what  
  
we are dealing with. Is it a mad serial killer?  
  
Maybe, but probably not. Looking at the culprits,  
  
it seems to be certain that this is a vengeance  
  
campaign led by mutants who don't approve  
  
the government's course. And may God help  
  
us when they are finished with the politicians.  
  
ORORO  
  
He's killing the leading politicians?  
  
SCOTT  
  
One after another. And all mutantkind  
  
is blamed.  
  
JEAN  
  
Why should he do this?  
  
PROFESSOR X  
  
The question that is on my mind is -  
  
why would Magneto do this? His declared  
  
goal is a world that is safe for mutants.  
  
SCOTT  
  
Don't you think he would kill for this?  
  
He's done it before.  
  
PROFESSOR X  
  
Certainly, but this doesn't make any sense.  
  
It's simply not Magneto's line of action. He  
  
is far more - subtle when he wants to achieve  
  
something, and he must know that openly  
  
killing politicians and, moreover, making it  
  
obvious that mutants are responsible, doesn't  
  
help his cause. No, I'm afraid this is Sinister's  
  
plan. I feel very uncomfortable sending you out  
  
there, but we must stop the killing.  
  
LONGSHOT  
  
Hey, wait. Are you telling us that the Senators  
  
aren't necessarily what Sinister wants? You  
  
mean, we're running directly into a trap?  
  
PROFESSOR X  
  
Honestly, I don't know. It might very well be a  
  
trap, but it is also possible that he is really  
  
planning to replace the whole government,  
  
perhaps with his own people.  
  
  
  
CONTINUED (3):  
  
SCOTT  
  
Who would be…?  
  
PROFESSOR X  
  
I have no idea. However, if this is his plan,  
  
the conference in three days will be where  
  
we will find him.  
  
LONGSHOT  
  
We'll need one heck of a plan, Sir. There are  
  
hundreds of politicians attending the conference,  
  
50 of them - okay, 48 of them - senators from  
  
all over the States. If we screw it, this is gonna  
  
be a disaster.  
  
PROFESSOR X  
  
I know. And this is why the training in the Danger  
  
Room might just not be enough.  
  
SCOTT  
  
What are we going to do?  
  
PROFESSOR X  
  
In the days remaining until the conference,  
  
we have to protect the other politicians  
  
from Sinister and his men.  
  
SCOTT  
  
Excuse me? As Longshot just said, there  
  
are hundreds of them that will attend the  
  
meeting.  
  
JEAN  
  
Yes, but many of them haven't arrived yet.  
  
Most of those who already are in town live  
  
in the same hotel. This makes it a lot easier  
  
to guard them.  
  
SCOTT  
  
What are you going to do meanwhile,  
  
Professor?  
  
PROFESSOR X  
  
I need to talk to somebody who might know  
  
more about this than we do.  
  
FADE OUT  
  
  
  
EXT. CENTRAL PARK, NEW YORK - AFTERNOON  
  
It is a cold but clear day. Many strollers slowly make their way through the park, especially  
  
many mothers with young children.  
  
CLOSER ANGLE ON PROFESSOR X who is sitting in his wheelchair beside a bench whose edge we see.  
  
PROFESSOR X  
  
I am glad you could make it here.  
  
CONTINUED:  
  
Now we see that there is somebody sitting on the bench. It is Erik Lehnsherr.  
  
ERIK  
  
Why do you want to talk with me?  
  
PROFESSOR X  
  
Is it not obvious?  
  
ERIK  
  
The killings.  
  
PROFESSOR X  
  
Why?  
  
ERIK  
  
Don't ask.  
  
PROFESSOR X  
  
I have to know. Erik, this can't be what  
  
you want. A world in which mutants are  
  
understood and respected, hasn't that  
  
always been your goal?  
  
ERIK  
  
Among other things, yes.  
  
PROFESSOR X  
  
So what did those people have to die for?  
  
What is Sinister planning?  
  
ERIK  
  
Be careful, Charles. This is all I can tell you.  
  
PROFESSOR X  
  
Why are you working together with him?  
  
Because he freed you? What did he promise  
  
you? Freedom for all mutantkind? Erik, you  
  
know Essex. Even if he keeps his promise,  
  
it will have an awful price, one that might  
  
destroy you.  
  
ERIK looks at a YOUNG WOMAN that's passing by, pushing a baby carriage with an  
  
exceptionally cute little baby inside.  
  
ERIK  
  
Look at those two. What a peaceful image.  
  
A young mother with her child. She cares for  
  
it, protects it from all peril. Don't you think  
  
she wants it to grow up in joy?  
  
(beat)  
  
The pursuit of happiness. A right guaranteed  
  
to all Americans - be it that they are different  
  
by birth. Could you tell if this baby is a mutant?  
  
And if it is, do its genes make it less human?  
  
Charles, we are the ones who know best that it  
  
is not your genotype that is responsible for your  
  
humanity.  
  
ERIK looks after the YOUNG WOMAN that is now walking away from them.  
  
CONTINUED (2):  
  
ERIK  
  
What if somebody can promise you that what  
  
has happened before will not happen again?  
  
Would you not be willing to pay a price, however  
  
high it might be? Charles, I don't want to have  
  
to wear a star on my chest again.  
  
(beat)  
  
Not if I can help it.  
  
ERIK stands up, and seemingly from out of nowhere, a NURSE appears that looks exactly  
  
like we would picture MYSTIQUE if she wasn't all blue.  
  
ERIK  
  
Be on guard, Charles. And have a close eye on  
  
Jean Grey.  
  
ERIK and MYSTIQUE walk away, and PROFESSOR X remains at the bench, looking very  
  
serious and thoughtful.  
  
FADE OUT  
  
  
  
INT. THE BLACKBIRD ROOM - NIGHT  
  
JEAN, CYCLOPS, STORM AND LONGSHOT are preparing to leave, all wearing their  
  
uniforms. Suddenly a sliding door opens, and PROFESSOR X comes inside.  
  
PROFESSOR X  
  
Jean, you will stay here.  
  
CYCLOPS  
  
What?  
  
JEAN  
  
(overlapping)  
  
Why?  
  
PROFESSOR X  
  
Whatever Sinister is planning, it has to  
  
do with you. I don't know how, though,  
  
and until I know, you will stay at the  
  
school where you are safe.  
  
JEAN  
  
But Professor -  
  
PROFESSOR X  
  
Jean, please.  
  
JEAN bows her head and walks over to the Professor, away from the Blackbird.  
  
CYCLOPS  
  
How are we supposed to fight like this?  
  
We are three people, and one of us doesn't  
  
have any experience in battle. We'll have  
  
to protect a whole hotel full of politicians.  
  
  
  
CONTINUED:  
  
PROFESSOR X  
  
I trust in your abilities, Scott. You have an  
  
exceptional talent to coordinate and to  
  
overview dangerous situations, that is why  
  
you are the leader of the X-team.  
  
CYCLOPS nods silently and walks towards the Blackbird. JEAN quickly comes after him and  
  
turns him around. She gives him a soft kiss.  
  
JEAN  
  
Be careful.  
  
CYCLOPS  
  
(smiles)  
  
Sure. You too.  
  
Meanwhile, STORM and LONGSHOT have entered the Blackbird. CYCLOPS follows them,  
  
and the hatch closes.  
  
JEAN and PROFESSOR X leave the room, and the sliding door closes behind them. The  
  
engines of the Blackbird are started.  
  
CUT TO:  
  
  
  
EXT. THE SCHOOL'S BASKETBALL COURT - CONTINUED ACTION  
  
The ground shakes, a large hatch slides open, and the Blackbird emerges from the  
  
basement, hovering over the ground for a second before it shoots right up into the nightly  
  
sky.  
  
  
  
  
  
INT. A CORRIDOR IN THE SCHOOL - NIGHT  
  
JEAN walks beside PROFESSOR X'S wheelchair.  
  
JEAN  
  
Can't you tell me what's so dangerous  
  
that I can't leave the school? And why me?  
  
PROFESSOR X  
  
I only know that for some reason it is you  
  
that Sinister wants. I will try to find out  
  
more, but until then, we are in a difficult  
  
situation. With Cyclops and Storm on a  
  
mission, the school is less protected than  
  
I feel comfortable with. I will contact Logan,  
  
maybe he is ready to come back.  
  
JEAN  
  
Is there anything I can do?  
  
PROFESSOR X  
  
All I can give you is an administrative order.  
  
There have been rumours of a mutant sighting  
  
in Europe. The mutant is said to be quite (more)  
  
(cont'd)  
  
powerful. Please try to find out who he is and  
  
what his gift is, and perhaps persuade him to  
  
visit us.  
  
JEAN  
  
(dryly)  
  
All this without leaving the school.  
  
PROFESSOR X  
  
I have to admit I am trying to keep you busy.  
  
But please do me the favour. It is all we can  
  
do right now.  
  
JEAN  
  
Of course.  
  
JEAN takes PROFESSOR XAVIER'S hand and presses it gently, then she walks down the  
  
corridor.  
  
CUT TO:  
  
  
  
INT. PROEFSSOR XAVIER'S OFFICE - SHORTLY AFTER  
  
PROFESSOR X holds a little device that looks somewhat like a mixture of the pocket  
  
Cerebro and a cell phone and presses some buttons.  
  
CUT TO:  
  
  
  
INT. A CABIN IN CANADA - SAME TIME  
  
LOGAN is sitting on the ground in front of the fireplace, his legs crossed, and stares at the  
  
flames.  
  
CLOSE on his ears as he seems to HEAR something. He stands up and walks towards  
  
the door.  
  
CUT TO:  
  
  
  
EXT. THE CABIN- CONTINUED ACTION  
  
We see the cabin, its windows illuminated from inside, and the pick- up standing a few yards  
  
away from the door. Something inside the car is flashing blue.  
  
The cabin's door opens, and LOGAN comes outside. With heavy steps, he trudges through  
  
the snow and towards the car. He tears the door open and glances inside.  
  
CUT TO:  
  
  
  
INT. LOGAN'S CAR - CONTINUED ACTION  
  
LOGAN is leaning inside the car and staring at something that looks almost like a radio but is  
  
now flashing blue. After a second, he presses a button and starts to read the message that  
  
(more)  
  
CONTINUED:  
  
appears on the display and starts with "LOGAN - SERIOUS PROBLEMS - SCHOOL  
  
UNPROTECTED -" - at that point, we PAN away from the communications device and to  
  
LOGAN'S FACE who looks insecure and then angry. He tears the device out of its place and  
  
flings it outside.  
  
CUT TO:  
  
  
  
EXT. THE CABIN - CONTINUED ACTION  
  
We see the device fly through the air and crash to the ground where the flashing stops after  
  
a second. LOGAN walks away from the car and back toward the cabin.  
  
CUT TO:  
  
  
  
INT. THE CABIN - CONTINUED ACTION  
  
The door is opened, and LOGAN is about to walk inside when he suddenly stops. The  
  
astounded expression on his face is illuminated by the flickering fireplace.  
  
CUT TO:  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE - SAME TIME  
  
PROFESSOR X is sitting behind his desk, his eyes closed, obviously very concentrated.  
  
CUT TO:  
  
  
  
INT. THE CABIN - CONTINUED ACTION  
  
LOGAN is still standing in the doorframe. The expression on his face turns from  
  
astonishment to desperate anger as he walks inside and slams the door shut.  
  
LOGAN  
  
(shouts)  
  
Leave me alone!  
  
CUT TO:  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE - CONTINUED ACTION  
  
PROFESSOR XAVIER still behind his desk, his eyes closed.  
  
PROFESSOR X  
  
(whispers)  
  
I'm sorry. I can't. Logan, we -  
  
CUT TO:  
  
  
  
INT. THE CABIN - CONTINUED ACTION  
  
LOGAN holds his head with both hands as if he was in physical pain.  
  
PROFESSOR X (V.O.)  
  
(echoing)  
  
- need you.  
  
  
  
LOGAN  
  
(shouts)  
  
No!  
  
  
  
He turns around, still holding his head, and looks at the flames in the fireplace. Suddenly, the fire seems to come to life. Shapes form that look like faces - faces that Logan knows too well.  
  
  
  
LOGAN'S POV:  
  
  
  
CLOSER ANGLE AT THE FIREPLACE as a hazy image of JEAN'S FACE appears. Though the image is not very clear, we see that she is in pain. A man that we recognize as SINISTER reaches out for her and pulls her towards him.  
  
  
  
LOGAN stretches out his hand and reaches for the flames, getting so close to them that he actually burns his hand.  
  
  
  
LOGAN  
  
(whispers)  
  
No.  
  
  
  
LOGAN slowly pulls his hand back, and as he clenches his fist, we see how his wounds  
  
heal. Then he fiercely turns around and walks towards the door. He goes outside and closes  
  
the door behind him.  
  
We HEAR AN ENGINE that is being started and then roars up.  
  
CUT TO:  
  
  
  
INT. PROFESSOR XAVIER'S OFFICE - CONTINUED ACTION  
  
THE PROFESSOR opens his eyes and puts his hands on the table. Sweat glistens on his  
  
forehead, and he looks very exhausted.  
  
PROFESSOR X  
  
Thank you.  
  
FADE OUT  
  
  
  
  
  
EXT. THE ROOF OF A HOTEL IN NEW YORK CITY - NIGHT  
  
The roof is dark and quiet until we HEAR THE SOUND OF THE APPROACHING  
  
BLACKBIRD. Seconds later, it comes into sight and softly touches down on the roof. The  
  
engine is turned off, and everything is as silent as before.  
  
CUT TO:  
  
  
  
INT. THE INSIDE OF THE BLACKBIRD - NIGHT  
  
LONGSHOT, STORM AND CYCLOPS are sitting each in their seats. CYCLOPS releases  
  
his breath as if he had been very tense before.  
  
LONGSHOT  
  
Nice landing.  
  
SCOTT  
  
(grins)  
  
I practiced.  
  
CUT TO:  
  
  
  
INT. THE HOTEL'S ELEVATOR SHAFT - NIGHT  
  
CYCLOPS, STORM AND LONGSHOT (in this order) rope down through the shaft and stop  
  
in front of a closed elevator door. CYCLOPS directs a brief laser beam at a case beside the  
  
door, and the door slides open. CYCLOPS sticks his head through the frame and looks left  
  
and right.  
  
CYCLOPS' POV:  
  
THE CORRIDOR TO THE LEFT - it is empty and quiet.  
  
THE CORRIDOR TO THE RIGHT - same thing.  
  
CYCLOPS  
  
(lowly)  
  
The coast is clear. Come on.  
  
CUT TO:  
  
  
  
INT. THE CORRIDOR - SECONDS LATER  
  
CYCLOPS, STORM AND LONGSHOT quietly walk down the corridor and try a few doors.  
  
When they find one that is not locked, they slip inside.  
  
CUT TO:  
  
  
  
INT. A HOTEL ROOM - CONTINUED ACTION  
  
LONGSHOT closes the door and releases his breath.  
  
LONGSHOT  
  
Now we're inside, but how do we find out  
  
if Sinister and his gang are here?  
  
CYCLOPS raises his hand. On his wrist, the pocket Cerebro is attached.  
  
CYCLOPS  
  
Professor Xavier is going to continually  
  
scan the hotel. If he finds any of the other  
  
mutants' signatures, he will send the data  
  
to the handheld device, and we can  
  
detect them.  
  
CONTINUED:  
  
LONGSHOT  
  
Ah. And what do we do until then?  
  
CYCLOPS  
  
We wait.  
  
CUT TO:  
  
  
  
INT. THE CEREBRO ROOM - NIGHT  
  
PROFESSOR X is connected to Cerebro, and in this instant, the room changes. Through fog  
  
that slowly clears up, we see a room in which obviously a dinner party is taking place. We  
  
pass several people as if we were walking through the crowd, and stop at a man, dressed in  
  
a black suit, who is talking to some others, laughing every now and then.  
  
CLOSE ON THE PROFESSOR  
  
PROFESSOR X  
  
Sinister?  
  
We see another short image of the same man, who doesn't look like Sinister at all.  
  
CUT TO:  
  
  
  
INT. THE HOTEL ROOM - LATER  
  
LONGSHOT is lying on a couch watching TV while STORM AND CYCLOPS are standing  
  
ready for action.  
  
Suddenly the pocket Cerebro goes off with low beeps and a flashing red light.  
  
CYCLOPS looks at the device.  
  
CYCLOPS  
  
Got him.  
  
LONGSHOT jumps up.  
  
LONGSHOT  
  
Well then, what are we waiting for?  
  
CYCLOPS  
  
He's in the lobby. We have to change.  
  
That is, you have to change.  
  
LONGSHOT  
  
Pardon me?  
  
CUT TO:  
  
  
  
INT. THE HOTEL ROOM - SHORTLY AFTER  
  
We see a CLOSE-UP ON A BOW-TIE that is in this instant fastened by STORM. We ZOOM  
  
OUT until we recognize that the man dressed in the suit is LONGSHOT.  
  
CONTINUED:  
  
STORM  
  
You look great, we should just do  
  
something about the hair.  
  
LONGSHOT  
  
I don't think this is a good idea.  
  
CYCLOPS  
  
You're the only one of us who can get  
  
down into the lobby without causing a  
  
panic. Except from your - hair, you fit  
  
right into the party.  
  
LONGSHOT runs his hand through his hair that looks rather wild.  
  
LONGSHOT  
  
Can't have everything.  
  
STORM  
  
It will have to do.  
  
CYCLOPS gives LONGSHOT the pocket Cerebro.  
  
CYCLOPS  
  
You will need this. If you detect him,  
  
try and get him up here. He doesn't  
  
know you, so maybe you can outsmart  
  
him.  
  
LONGSHOT  
  
Is this our plan?  
  
CYCLOPS  
  
Well - yes.  
  
LONGSHOT  
  
How well-prepared we are. Ah, maybe  
  
we're lucky. I think I have another plan.  
  
LONGSHOT gives a boyish grin and walks towards the door.  
  
CUT TO:  
  
  
  
INT. THE HOTEL'S LOBBY - SHORTLY AFTER  
  
The room looks like we have seen it in the Cerebro room. It is festively decorated, and men  
  
who can only be politicians, and also a few women, stand around having drinks and small-  
  
talk.  
  
LONGSHOT enters the room, wearing a page uniform that obviously doesn't fit him. He  
  
looks at his wrist and then around, and we follow his look PANNING THROUGH THE  
  
ROOM until we see the man from Xavier's Cerebro vision.  
  
LONGSHOT straightens himself and marches towards the man.  
  
LONGSHOT  
  
Excuse me, Sir.  
  
CONTINUED:  
  
THE MAN turns around.  
  
MAN  
  
Yes?  
  
LONGSHOT  
  
Sir, I'm terribly sorry to interrupt you,  
  
but there seems to be a problem in  
  
your room.  
  
MAN  
  
Oh yes?  
  
LONGSHOT  
  
Yes, and I'm afraid we need you to  
  
correct this.  
  
MAN  
  
Certainly.  
  
The MAN turns back to his conversation partners.  
  
MAN  
  
I beg your pardon. I will be back with  
  
you in a few minutes.  
  
The OTHER GUESTS nod, and the MAN follows LONGSHOT.  
  
CUT TO:  
  
  
  
INT. AN ELEVATOR IN THE HOTEL - NIGHT  
  
LONGSHOT AND THE MAN both stand facing the door.  
  
MAN  
  
So what exactly is the problem you  
  
were talking about?  
  
LONGSHOT  
  
I think it has to do with vermin, Sir.  
  
I was only sent to pick you up.  
  
MAN  
  
Vermin, aha.  
  
THE MAN looks down at LONGSHOT.  
  
CLOSE VIEW AT LONGSHOT'S WRIST where we can clearly see the pocket Cerebro.  
  
MAN  
  
Did you really think you could fool me?  
  
LONGSHOT winces, but still keeps up his disguise as a page.  
  
LONGSHOT  
  
Pardon, Sir?  
  
  
  
CONTINUED:  
  
MAN  
  
Your poor try to take me captive.  
  
Whose idea was this? Xavier's?  
  
Do you think you can protect the  
  
politicians like this?  
  
While he was talking, the MAN turned towards LONGSHOT.  
  
LONGSHOT backs away but soon hits the wall of the elevator cage. The MAN slowly follows  
  
him, and while he moves, his face changes and turns all silvery.  
  
SINISTER  
  
Give Xavier my greetings. He has  
  
to send more than a hollow-boned  
  
mutant greenhorn to even make the  
  
game interesting for me.  
  
SINISTER brings his face close to LONGSHOT'S.  
  
LONGSHOT'S eyes widen with surprise and fear, and blood starts dripping from his nose.  
  
LONGSHOT  
  
(strained)  
  
We'll get you.  
  
SINISTER  
  
(grins)  
  
Certainly.  
  
(beat)  
  
Good night.  
  
LONGSHOT moans lowly and slumps against the wall.  
  
CUT TO:  
  
  
  
INT. A ROOM IN THE SCHOOL'S SUBLEVELS - NIGHT  
  
JEAN GREY is sitting in front of a whole bunch of computer monitors and other devices. She  
  
hits several keys and looks a bit frantic. As the chair has wheels, she can push it between  
  
the several computers and even halfway through the room while staying seated as she is  
  
doing ten things at a time.  
  
Suddenly one of the devices, a very futuristic looking thing, starts to beep.  
  
JEAN heaves a relieved sigh.  
  
JEAN  
  
Finally.  
  
JEAN picks up a headset and puts it on her head.  
  
JEAN  
  
Yes?  
  
CUT TO:  
  
  
  
INT. COLOGNE / BONN AIRPORT IN GERMANY - CONT. ACTION - DAWN  
  
We see a MAN standing at a phone in a crowded hall in the Cologne / Bonn airport. Through  
  
a large window, we see a concrete place and the taxiway with several big airplanes, and as  
  
the sun is rising, it is reflected on the metal skins of the planes.  
  
The MAN wears a trench coat, gloves some of whose fingers seem oddly limp, and a hat  
  
that he has pulled deep down over his face so that we see only a shadow.  
  
MAN  
  
I was told to call you.  
  
CUT TO:  
  
  
  
INT. THE COMPUTER ROOM - CONTINUED ACTION - NIGHT  
  
JEAN  
  
Yes. We heard that you need a  
  
place to stay.  
  
CUT TO:  
  
  
  
INT. THE AIRPORT - CONTINUED ACTION  
  
JEAN (V.O.)  
  
Did they give you the palmtop?  
  
The MAN reaches inside his coat pocket.  
  
MAN  
  
Yes.  
  
CUT TO:  
  
  
  
INT. THE COMPUTER ROOM - CONTINUED ACTION  
  
JEAN  
  
I will now transfer the necessary data.  
  
JEAN presses another button.  
  
JEAN  
  
Your new identity and the flight ticket  
  
are now ready. In less than eight hours,  
  
you will be in safety in the United States  
  
of America.  
  
CUT TO:  
  
  
  
INT. THE AIRPORT - CONTINUED ACTION  
  
The MAN looks up as a troop of MILITARY POLICE appears further down the hall,  
  
apparently looking for somebody. Still, we don't see his face as he looks in the opposite  
  
direction.  
  
  
  
INT. THE AIRPORT - SAME TIME  
  
One of the SOLDIERS shows a picture that we don't see to several people.  
  
SOLDIER  
  
Wir suchen einen gefährlichen Mutanten.  
  
Haben Sie diesen Mann gesehen?  
  
The SOLDIER looks up and sees the man in the trench coat stand at the telephone.  
  
  
  
INT. THE TELEPHONE - CONTINUED ACTION  
  
MAN  
  
America, Europe, I could not care less  
  
as long as I am out of here. Thank you  
  
so much, Fräulein.  
  
CUT TO:  
  
  
  
INT. THE COMPUTER ROOM - CONTINUED ACTION  
  
JEAN  
  
(smiles)  
  
Never mind. We are glad to help you.  
  
Good luck, Herr Wagner.  
  
WAGNER (V.O.)  
  
Thank you.  
  
We HEAR a CLICK as the line is cut, and JEAN smiles and leans back.  
  
CUT TO:  
  
  
  
INT. THE AIRPORT - TELEPHONE - CONTINUED ACTION  
  
WAGNER hangs up and turns around, suspiciously regarding the soldiers that have come  
  
closer. As he lifts his head, we see that his face is covered with blue fur, and that his eyes  
  
have a soft yellow glow. He pulls his hat even deeper into his face and casually walks  
  
towards the check-in area.  
  
  
  
INT. THE AIRPORT - CONTINUED ACTION  
  
The SOLDIER puts the picture into his pocket and makes his way through the crowd of  
  
people, towards the telephone. When he looks at the booth, it is empty.  
  
FADE OUT  
  
  
  
  
  
INT. A CORRIDOR IN THE HOTEL - NIGHT  
  
CYCLOPS AND STORM are waiting in front of the elevator.  
  
CONTINUED:  
  
CLOSE-UP ON THE DIGITS OVER THE ELEVATOR DOOR - they count up to "22", and  
  
then a soft "ping" announces that the cage has stopped at this level.  
  
CYCLOPS  
  
Showtime.  
  
CLOSE ANGLE ON THE ELEVATOR DOOR as it opens. Inside the cage, LONGSHOT  
  
lies in a corner, blood covering his face below his nose.  
  
VIEW AT STORM  
  
STORM  
  
Longshot!  
  
VIEW AT THE ELEVATOR CAGE  
  
STORM rushes forward and kneels down beside Longshot.  
  
CYCLOPS  
  
Is he okay?  
  
STORM looks up.  
  
STORM  
  
I think so. He's alive and breathing.  
  
(to LONGSHOT)  
  
Hey, can you hear me?  
  
LONGSHOT slowly opens his eyes.  
  
LONGSHOT  
  
Yes.  
  
STORM  
  
You okay?  
  
LONGSHOT  
  
Yeah.  
  
LONGSHOT gets up, supported by STORM and CYCLOPS, then wipes the blood from his  
  
face and grins.  
  
LONGSHOT  
  
Guess I was lucky. Folks, let's get  
  
out of here.  
  
CUT TO:  
  
  
  
INT. THE BLACKBIRD - NIGHT  
  
CYCLOPS, STORM AND LONGSHOT are sitting in their seats. LONGSHOT looks like he's  
  
had it, but he doesn't seem too frustrated.  
  
CYCLOPS  
  
So what exactly happened?  
  
  
  
CONTINUED:  
  
LONGSHOT  
  
It was Sinister. The bastard knew what  
  
we were trying to do, and he - did  
  
something to me. I don't know what it  
  
was. He just looked at me, and I  
  
somehow must have passed out.  
  
CYCLOPS  
  
He was one step ahead of us.  
  
STORM  
  
Maybe not only one step.  
  
CYCLOPS  
  
We need a new plan. And above all, we  
  
need to know what he is planning.  
  
CUT TO:  
  
  
  
EXT. LIBERTY ISLAND - NIGHT  
  
Only a few ships are on the water, and everything is quiet and peaceful until the  
  
BALCKBIRD nosedives towards the surface and is pulled out only in the last instant. It rises  
  
again and dashes off into the darkness.  
  
FADE OUT  
  
  
  
  
  
INT. A LAB ROOM IN THE SCHOOL'S SUBLEVELS - NIGHT  
  
LONGSHOT is sitting on a slab while JEAN examines him and ORORO, SCOTT and THE  
  
PROFESSOR stand nearby and watch.  
  
JEAN points a flashlight at his eyes, and LONGSHOT turns his head away.  
  
LONGSHOT  
  
I told you I'm fine.  
  
JEAN turns towards the PROFESSOR  
  
JEAN  
  
For all I can say, there is nothing  
  
wrong with him.  
  
PROFESSOR X  
  
(to LONGSHOT)  
  
You were lucky.  
  
LONGSHOT  
  
(grins)  
  
That's what I'm saying.  
  
PROFESSOR X  
  
Nevertheless, you should get some rest.  
  
The next days will be hard. The same  
  
(more)  
  
(cont'd)  
  
goes for you - Scott, Ororo.  
  
(to JEAN)  
  
I need to talk to you.  
  
LONGSHOT, ORORO and SCOTT leave the room, and PROFESSOR XAVIER turns to  
  
JEAN.  
  
PROFESSOR X  
  
I'm not yet sure, but I think everything  
  
that Sinister did was supposed to lure  
  
you out of the school.  
  
JEAN  
  
But why should he want me?  
  
PROFESSOR X  
  
Your gift. Right now, your powers are not  
  
yet fully developed, but I don't even dare  
  
to estimate your full potential. He has been  
  
experimenting with human and mutant DNA  
  
in the past, so he might want your DNA.  
  
JEAN  
  
What for?  
  
PROFESSOR X  
  
I'm afraid to say it, but he has been trying to  
  
create a kind of superior mutant.  
  
JEAN  
  
He wants to combine several powers in  
  
one super-mutant?  
  
PROFESSOR X  
  
One that he preferably has control over, yes.  
  
JEAN  
  
Oh my God.  
  
PROFESSOR X  
  
Yes.  
  
We see a CLOSE-UP ON THE PROFESSOR as we  
  
FADE OUT.  
  
  
  
  
  
EXT. A TERRACE OUTSIDE THE SCHOOL BUILDING - DAY  
  
It is early morning. The sun has only just risen, and the day is still young.  
  
PROFESSOR X and JEAN are having breakfast together on the terrace. They are sitting at a small round table.  
  
JEAN  
  
Running all those tests didn't help us  
  
very much. Unless we know whose DNA  
  
he wants to combine mine with, we have  
  
(more)  
  
(cont'd)  
  
no idea what powers the - result might  
  
possess.  
  
PROFESSOR X  
  
(smiles)  
  
Well, at least it made us stay up long  
  
enough to see this beautiful sunrise.  
  
JEAN  
  
(smiles)  
  
Yes.  
  
Suddenly a RINGING SOUND IS HEARD, and on a small panel at the table, lights flash up.  
  
PROFESSOR X  
  
(astounded)  
  
We have a visitor?  
  
JEAN rises from her chair, putting her napkin down with a sheepish smile.  
  
JEAN  
  
I completely forgot about him. I believe  
  
it is somebody you'll be pleased to meet.  
  
CUT TO:  
  
  
  
EXT. THE SAME TERRACE - SHORTLY AFTER  
  
THE PROFESSOR is still sitting in the same spot.  
  
JEAN comes outside accompanied by WAGNER.  
  
JEAN  
  
Professor, I'd like you to meet Kurt  
  
Wagner.  
  
WAGNER  
  
Professor Xavier, I believe. It's an  
  
honour to meet you.  
  
PROFESSOR X  
  
The honour is all mine. I heard you  
  
were in some trouble in Germany?  
  
WAGNER  
  
Yes. I don't know how you found me,  
  
but I'm very grateful that you offer  
  
me shelter here.  
  
PROFESSOR X  
  
Yet I have to admit that my offer was  
  
not completely selfless. Please, sit down.  
  
WAGNER takes off his hat to reveal a face that is covered with blue fur, plus pricked ears,  
  
short-cut blue hair and yellow eyes, and sits down.  
  
JEAN takes a seat as well.  
  
  
  
CONTINUED:  
  
PROFESSOR X  
  
This school was created to educate,  
  
support and protect young mutants.  
  
Right now, though, we are dealing  
  
with an extremist group that kills  
  
politicians but actually means to attack us.  
  
WAGNER  
  
So no country is actually safe for us.  
  
(beat)  
  
Did you bring me here to fight? I'm not  
  
a fighter, and I would never kill.  
  
PROFESSOR X  
  
The choice is yours. I hoped that you might  
  
help us, but of course, this is not your battle.  
  
You are more than welcome here, but I can't  
  
promise that you will be safer here than you  
  
were in your home country.  
  
WAGNER  
  
If you allow, I would like to stay here,  
  
at least for a while. I may not be a fighter,  
  
but I hope I can be of some use  
  
nevertheless.  
  
WAGNER smiles, we see a CLOSE-UP ON XAVIER who smiles and nods, and we  
  
FADE OUT  
  
  
  
INT. THE SCHOOL'S GARAGE - NIGHT  
  
All vehicles except from Logan's pick-up are in the garage, but there are no people present.  
  
Then we HEAR THE SOUND OF AN ENGINE, and the PICK-UP is steered onto a free spot.  
  
CUT TO:  
  
  
  
INT. LOGAN'S CAR - CONTINUED ACTION  
  
LOGAN turns the ignition key, and the engine goes out. Despair on his face, he heavily leans  
  
on the steering wheel before he straightens himself and opens the door.  
  
CUT TO:  
  
  
  
INT. A CORRIDOR IN THE SCHOOL - SHORTLY AFTER  
  
LOGAN walks down the corridor and opens a wall panel that leads into an elevator cage.  
  
After a short look inside, he closes it again and instead walks up the stairs.  
  
CUT TO:  
  
  
  
  
  
INT. MARIE'S ROOM - SECONDS LATER  
  
The lights are turned off, and MARIE and ALISON are each lying in her bed, seemingly  
  
sleeping.  
  
The door is quietly opened, and LOGAN looks inside, his face only illuminated by the light  
  
coming through the window. He looks at Marie first, then at Alison. Seeing that they are both  
  
asleep, he slowly draws his head back.  
  
MARIE  
  
(whispers)  
  
Are you back?  
  
LOGAN hesitates, then comes inside, quietly closing the door behind him. He kneels down  
  
beside the bed, and MARIE sits up.  
  
LOGAN  
  
Yes, I'm back.  
  
MARIE  
  
Then you might need these.  
  
MARIE reaches under her nightshirt and pulls out the dog tags. LOGAN takes them and puts  
  
them around his neck.  
  
LOGAN  
  
Thanks for taking care of them.  
  
MARIE  
  
Was the least I could do.  
  
(beat)  
  
You staying this time?  
  
LOGAN  
  
Yes.  
  
(beat)  
  
Yes, I think so.  
  
MARIE hugs LOGAN.  
  
LOGAN  
  
I got work to do, Kid. There are  
  
some mutants here who can't seem  
  
to take care of their own problems.  
  
MARIE  
  
(smiles)  
  
Guess you should help them out then.  
  
LOGAN  
  
See ya.  
  
MARIE  
  
Night.  
  
(beat)  
  
And Logan - my name's Marie. Not Kid.  
  
LOGAN  
  
(smiles)  
  
Yeah.  
  
LOGAN stands up and walks outside, closing the door behind him.  
  
CONTINUED:  
  
We see a CLOSE-UP on MARIE who smiles happily.  
  
CUT TO:  
  
  
  
INT. THE WAR ROOM - SHORTLY AFTER  
  
It is the same room in which Xavier showed his men the TV clips about the killings.  
  
XAVIER, STORM, CYCLOPS, JEAN, LONGSHOT and WAGNER are sitting around the  
  
same table.  
  
The door opens and LOGAN comes inside.  
  
CLOSE on JEAN whose face is lit up by a smile.  
  
PROFESSOR X  
  
Ah, Logan. Good to have you back.  
  
LOGAN  
  
Couldn't let you have the fun all alone.  
  
LOGAN looks around.  
  
LOGAN  
  
What the heck's been going on here?  
  
Talk about population explosion. Anybody  
  
mind introducing me to those guys?  
  
PROFESSOR X  
  
Our new team members are Longshot  
  
and Kurt Wagner alias Nightcrawler.  
  
LOGAN  
  
(to NIGHTCRAWLER)  
  
Cool hair.  
  
NIGHTCRAWLER  
  
Likewise.  
  
LOGAN grins and sits down beside JEAN, giving her another suggestive smile.  
  
CYCLOPS draws a face.  
  
LOGAN  
  
(to PROFESSOR X)  
  
Well then, what are we up to?  
  
PROFESSOR X  
  
Tonight there will be a conference of  
  
politicians who are to decide the fate  
  
of our country, or at least that of the  
  
mutant population. Sinister and Magneto  
  
are planning something that will supposedly  
  
change the government's course. We  
  
have to stop them. Whatever their plan  
  
is, we must make sure they don't succeed.  
  
CONTINUED:  
  
LOGAN  
  
Sounds like a plan to me.  
  
(beat)  
  
One thing, Professor.  
  
PROFESSOR X  
  
Yes?  
  
CLOSE ON LOGAN  
  
LOGAN  
  
Do I have to wear this uniform?  
  
CUT TO:  
  
  
  
INT. ANOTHER ROOM IN THE SCHOOL'S SUBLEVELS  
  
The X-Men get dressed:  
  
CLOSE ON STORM'S SHOULDERS as she attaches her coat  
  
CLOSE ON CYCLOPS' EYES as he takes off his sunglasses and puts on his visor  
  
CLOSE ANGLE ON LONGSHOT as he hangs a small brown bag over his shoulder  
  
CLOSE ANGLE ON WOLVERINE as he zips up the jacket of his uniform. He smiles as it fits  
  
perfectly.  
  
CLOSE ON WOLVERINE'S HANDS - he puts on his gloves that have little tubes on their  
  
back that allow his claws to extend. WOLVERINE looks at his gloves and extends his  
  
claws. The tubes are measured perfectly.  
  
WOLVERINE  
  
Cool.  
  
NIGHTCRAWLER helplessly holds up his uniform. WOLVERINE looks at him until he  
  
discovers his tail and understands.  
  
WOLVERINE  
  
Watch your fingers.  
  
WOLVERINE makes a quick movement towards the uniform NIGHTCRAWLER is holding.  
  
CUT TO:  
  
  
  
INT. THE SAME ROOM - SHORTLY AFTER  
  
NIGHTCRAWLER zips up his uniform, turns around and moves his tail that easily fits  
  
through a small hole in the back of the uniform. He lashes it like a whip and gives a satisfied  
  
smile.  
  
  
  
  
  
  
  
INT. THE BLACKBIRD - NIGHT  
  
CYCLOPS, JEAN, STORM, WOLVERINE, LONGSHOT AND NIGHTCRAWLER each have  
  
a seat, but it looks somewhat crowded.  
  
WOLVERINE  
  
Next time, we should get a bigger jet.  
  
CYCLOPS  
  
(looking at WOLVERINE)  
  
Yeah, or somebody will have to go on foot.  
  
WOLVERINE  
  
(to LONGSHOT who's sitting beside him)  
  
I don't know why, but he loves me.  
  
(beat)  
  
Luck, huh? Nice upgrade for the team.  
  
Got any siblings looking for a job?  
  
CYCLOPS is wearing his visor, but we can literally see him roll his eyes.  
  
CUT TO:  
  
  
  
EXT. NEW YORK'S SKYLINE - CONTINUED ACTION  
  
The BLACKBIRD dashes over the city, heading for the conference hall.  
  
FADE OUT  
  
  
  
  
  
INT. SINISTER'S "WORKSHOP" - NIGHT  
  
It's a huge hall that looks like a mixture of a hangar and a computerized control room. Two  
  
jets that resemble the Blackbird are standing in the centre.  
  
SINISTER, TUSK, VERTIGO, FOXBAT AND RIPTIDE are in the hall. SINISTER looks at  
  
some computer screens while VERTIGO is standing beside him. TUSK and FOXBAT work  
  
on the jets, and RIPTIDE works at a keyboard.  
  
ENTER MAGNETO, SABRETOOTH AND MYSTIQUE  
  
SINISTER looks up and smiles.  
  
SINISTER  
  
Ah, are you ready? We are almost finished  
  
here.  
  
MAGNETO  
  
And you are certain that the adjustments  
  
have eliminated the rejection?  
  
SINISTER  
  
Absolutely. The mutational process has  
  
been slowed down considerably. This  
  
means that you won't see any immediate  
  
success, but the weak human bodies don't  
  
- disintegrate as they did before with your  
  
(more)  
  
(cont'd)  
  
unfortunate device. My changes also  
  
eliminated the spectacular yet quite  
  
conspicuous light effect. They won't even  
  
know what struck them. All they will feel  
  
might be a tingling sensation, but they will  
  
think it's a cold draught.  
  
(laughs)  
  
MAGNETO  
  
I would have liked to see your statement  
  
proven before we test the device in the field.  
  
SINISTER  
  
As I told you, the change takes its time.  
  
The experiment with Jameson should have  
  
taken place earlier. However, he will be the  
  
first to get the benefit of our combined genius.  
  
CUT TO:  
  
  
  
INT. A DARK ROOM IN MAGNETO'S MANSION - SAME TIME  
  
The room is nearly empty. All we can recognize is a bed in a corner with a figure lying on it.  
  
We slowly ZOOM IN ON THE PERSON until we recognize a skeleton-like body that is not  
  
moving. Immediately, we assume that it is JAMESON, and that he is dead.  
  
The face that looks like that of a mummy is twisted in an expression of agony, the eyes and  
  
mouth wide open. Suddenly the person blinks once and utters a low moan without moving in  
  
any other way.  
  
CUT TO:  
  
  
  
INT. MAGNETO'S JET - NIGHT  
  
MAGNETO, SABRETOOTH AND MYSTIQUE are sitting in their seats. SABRETOOTH is  
  
steering the jet. MAGNETO is wearing his helmet that protects his mind from being  
  
detected or scanned by Xavier.  
  
We HEAR SINISTER'S VOICE through the communications system.  
  
SINISTER (V.O.)  
  
It's time to part now, friend.  
  
MAGNETO  
  
Part?  
  
SINISTER (V.O.)  
  
While you care for the deployment of  
  
the device, I will pay a visit to the school.  
  
I told you what I want. If you and your  
  
people fail to get the sample, we will  
  
need a lever.  
  
MAGNETO switches the radio off.  
  
  
  
CONTINUED:  
  
MAGNETO  
  
(whispers)  
  
Charles.  
  
MAGNETO takes his helmet off.  
  
MAGNETO  
  
I know you better than you know  
  
yourself. Now don't disappoint me.  
  
CUT TO:  
  
  
  
INT. THE CEREBRO ROOM - NIGHT  
  
XAVIER is wearing the Cerebro headset. Suddenly, he opens his eyes in astonishment.  
  
PROFESSOR X  
  
Erik.  
  
CUT TO:  
  
  
  
INT. MAGNETO'S JET - NIGHT  
  
MAGNETO sits with closed eyes.  
  
SABRETOOTH turns back to Magneto.  
  
SABRETOOTH  
  
Where are we heading?  
  
MAGNETO  
  
No change of plans. The hotel.  
  
SABRETOOTH turns back to the navigation controls.  
  
  
  
  
  
INT. SINISTER'S JET - NIGHT  
  
SINISTER, VERTIGO, TUSK, FOXBAT AND RIPTIDE each in their seat, with Sinister  
  
steering the jet.  
  
SINISTER is wearing a helmet that closely resembles the one Magneto uses to wear.  
  
SINISTER  
  
Ready or not.  
  
(beat)  
  
Rather not.  
  
CLOSE-UP ON SINISTER grinning.  
  
  
  
  
  
  
  
EXT. THE HOTEL ROOF - NIGHT  
  
TWO JETS simultaneously land on the roof, one of them the Blackbird, the other one  
  
Magneto's jet.  
  
Doors open, and out of both gliders, the teams climb.  
  
Tense silence as they stare at each other.  
  
WOLVERINE extends his claws.  
  
MAGNETO takes a step forward, towards the X-Men, raising his hands in a placating  
  
gesture.  
  
MAGNETO  
  
Please leave.  
  
WOLVERINE  
  
(laughs)  
  
I don't think so. Looks like you're  
  
(beat)  
  
outnumbered?  
  
WOLVERINE looks around searching for the rest of the evil mutants.  
  
WOLVERINE  
  
What's going on here?  
  
MAGNETO  
  
Sinister is on his way to the school.  
  
You must choose.  
  
CYCLOPS  
  
Choose between what?  
  
MAGNETO  
  
Save the politicians that are going to  
  
destroy your lives, or save the man  
  
who saved you.  
  
WOLVERINE  
  
Bastard!  
  
WOLVERINE rushes forward but is stopped by MAGNETO'S force field.  
  
MAGNETO  
  
I am not going to hurt anybody. They  
  
will all enter a new stage of their physical  
  
life. But I cannot speak for Sinister.  
  
CLOSE ANGLE ON CYCLOPS as he obviously tries to make a decision.  
  
MAGNETO  
  
If you don't leave now, I will have to put  
  
your Blackbird out of action. You will not  
  
be able to get back to the school in time.  
  
CYCLOPS looks at JEAN AND STORM, his expression sad.  
  
CYCLOPS  
  
(lowly)  
  
Attack.  
  
CONTINUED:  
  
In the same instant, CYCLOPS opens his visor and shoots a beam at MYSTIQUE who easily  
  
dodges it.  
  
MAGNETO raises his hand, and from inside the Blackbird, sparks and blue flashes of  
  
lightning can be seen.  
  
WOLVERINE falls backward and is literally nailed to the ground as his claws are stuck in the  
  
concrete.  
  
STORM'S eyes turn all white, and wind springs up.  
  
SABRETOOTH takes a few large steps towards STORM and seizes her by the throat.  
  
MYSTIQUE changes into her favourite shape as WOLVERINE and attacks LONGSHOT  
  
whose eyes widen with surprise upon seeing her shape-shift.  
  
  
  
  
  
INT.THE CEREBRO ROOM - NIGHT  
  
PROFESSOR X takes off the Cerebro headset. Suddenly the whole room is shaken by strong vibrations. PROFESSOR X looks up.  
  
PROFESSOR X  
  
Sinister.  
  
  
  
  
  
INT. MARIE'S ROOM - SAME TIME  
  
MARIE and ALISON are lying in their beds when suddenly vibrations make the building  
  
tremble. Both girls sit up.  
  
ALISON  
  
What's that?  
  
MARIE  
  
I don't know. Come on, out of here.  
  
MARIE AND ALISON stand up, quickly put on jeans and run out of the room.  
  
CUT TO:  
  
  
  
INT. A CORRIDOR IN THE SCHOOL - CONTINUED ACTION  
  
Several students are standing on the corridor, puzzled and scared. One of them, a boy that  
  
we recognize as BOBBY, discovers MARIE and quickly walks towards her.  
  
BOBBY  
  
Marie! What's going on?  
  
MARIE  
  
Don't know. Let's find the Professor.  
  
The students rush down the corridor, led by MARIE, BOBBY AND ALISON.  
  
  
  
  
  
INT. ENTRANCE HALL OF THE SCHOOL - CONTINUED ACTION  
  
The students come run down the stairs and stop abruptly when they see something o.s.  
  
This is what they see:  
  
SINISTER, VERTIGO, FOXBAT AND RIPTIDE are standing in the lobby. The white  
  
moonlight is reflected on SINISTER'S silvery skin. He is still wearing his helmet.  
  
SINISTER  
  
(to the students)  
  
Hello, children.  
  
SINISTER nods at TUSK.  
  
SINISTER  
  
(to the students)  
  
Would you please join us down here?  
  
TUSK produces about a dozen smaller duplicates of himself who climb up the stairs and encircle the students.  
  
BOBBY raises his hand and shoots a cold blue beam at one of the SMALL TUSKS who  
  
freezes immediately.  
  
SINISTER  
  
What a hot-headed young man.  
  
Ah, wrong choice of words. But  
  
never mind.  
  
SINISTER raises his hand towards BOBBY, and BOBBY slumps and falls down the stairs.  
  
MARIE runs down the stairs toward Bobby and kneels down beside him. When she lifts his  
  
head, we see that his nose is bleeding.  
  
ALISON starts humming, and between her hands, a very bright reddish glow gets stronger.  
  
Then a blinding ray of light dashes towards SINISTER and goes right through his chest,  
  
hitting the wall behind him.  
  
SINISTER smiles.  
  
CUT TO:  
  
  
  
EXT. THE HOTEL'S ROOF - NIGHT  
  
LONGSHOT ducks, and right above his head, a glistening claw cuts through air.  
  
LONGSHOT  
  
Your other shape was far more  
  
attractive, lady.  
  
MYSTIQUE/WOLVERINE smiles and raises her left hand, beckoning LONGSHOT closer  
  
with one claw. LONGSHOT returns the smile and raises his fists.  
  
JEAN raises her hands and parts them, and SABRETOOTH'S grasp around STORM'S neck  
  
is loosened until she comes free. SABRETOOTH turns around and growls at JEAN.  
  
CONTINUED:  
  
CYCLOPS touches his visor to open it, but MAGNETO makes a casual gesture, and it is torn  
  
from his face. After shooting a beam right into the sky, CYCLOPS closes his eyes.  
  
NIGHTCRAWLER sees the visor fly towards the edge of the roof.  
  
NIGHTCRAWLER  
  
Verdammt!  
  
NIGHTCRAWLER dives after the visor, right over the edge of the hotel's roof. STORM runs  
  
after him.  
  
STORM  
  
No!  
  
STORM bends over the edge, searching for NIGHTCRAWLER.  
  
STORM'S POV:  
  
Nothing unusual can be seen at the hotel wall. Suddenly, a blue tail appears under a window  
  
ledge, and a second later, NIGHTCRAWLER appears, climbing up the wall like a fly.  
  
NIGHTCRAWLER looks up at STORM and grins.  
  
NIGHTCRAWLER  
  
How's it going, Fräulein?  
  
NIGHTCRAWLER climbs the rest of the distance, and with one last leap, he is back on the  
  
roof.  
  
WOLVERINE is still nailed to the ground but tries to pull his claws from the concrete.  
  
SABRETOOTH attacks JEAN, but she gives him a telekinetic push, and he flies backward.  
  
LONGSHOT rolls away from another of MYSTIQUE'S attacks and gets to his feet.  
  
LONGSHOT  
  
(to nobody in particular)  
  
Could somebody please help me  
  
out here?  
  
STORM'S eyes turn white again, and wind springs up.  
  
MYSTIQUE/WOLVERINE raises one of her hands to hit Longshot, and a bolt of lightning  
  
winces downward from the dark sky, striking the middle claw. MYSTIQUE is pushed back  
  
and lies on her back unmoving.  
  
LONGSHOT  
  
(to STORM)  
  
Well, thanks.  
  
SABRETOOTH sees that NIGHTCRAWLER, standing at the edge of the roof, has Cyclops'  
  
visor, and jumps at him. NIGHTCRAWLER dodges him and gives him a heavy push that  
  
flings him over the edge. Nightcrawler bends over the handrail.  
  
NIGHTCRAWLER'S POV:  
  
SABRETOOTH is clinging to a ledge, his claws boring into the concrete.  
  
VIEW AT NIGHTCRAWLER from below (SABRETOOTH'S POV):  
  
  
  
CONTINUED:  
  
NIGHTCRAWLER  
  
Too many bad guys hanging around  
  
here.  
  
NIGHTCRAWLER draws his head back.  
  
ON THE ROOF:  
  
MAGNETO makes a gesture, and WOLVERINE rises from the ground. His body hovers  
  
towards the edge of the building.  
  
MAGNETO  
  
Stop it, or he dies.  
  
WOLVERINE  
  
Li'l freefall won't kill me.  
  
MAGNETO  
  
I am not going to drop you.  
  
WOLVERINE'S claws spread and bend upward, and WOLVERINE screams in pain.  
  
MAGNETO  
  
I will pull the adamantium out of your  
  
body, bit by bit.  
  
CLOSE ANGLE ON JEAN who looks scared.  
  
CYCLOPS still stands with his eyes closed and clenched fists.  
  
MAGNETO  
  
Well?  
  
LONGSHOT appears behind MAGNETO and puts one arm around his neck and one hand  
  
under his chin.  
  
LONGSHOT  
  
Well what, old man? Release him.  
  
VIEW AT WOLVERINE who still hovers in the air like crucified, throwing his head back and  
  
screaming in pain. His skin bulges out in some spots, and we realize that Magneto is pulling  
  
the adamantium from his bones.  
  
LONGSHOT increases the pressure on MAGNETO'S neck.  
  
LONGSHOT  
  
Don't think about it too long.  
  
MAGNETO closes his eyes.  
  
VIEW AT WOLVERINE who sinks until he softly touches the ground. He drops to one knee  
  
and bends his head.  
  
LONGSHOT  
  
Good choice.  
  
CLOSE ON JEAN  
  
JEAN  
  
The school!  
  
CONTINUED:  
  
NIGHTCRAWLER hands CYCLOPS his visor, and CYCLOPS puts it over his eyes.  
  
CYCLOPS  
  
We have to get there as fast as possible!  
  
LONGSHOT  
  
But our jet's broken.  
  
CYCLOPS  
  
We'll take theirs.  
  
STORM  
  
He will let us crash as soon as we're  
  
airborne.  
  
CYCLOPS  
  
(grins coldly)  
  
That's why he's coming with us.  
  
CLOSE ON MAGNETO who is still being held by LONGSHOT.  
  
CUT TO:  
  
  
  
EXT.THE HOTEL'S ROOF - SHORTLY AFTER  
  
MAGNETO'S JET takes off, and the only person remaining on the roof is MYSTIQUE who  
  
still isn't moving.  
  
CLOSER ANGLE ON THE EDGE WITH THE HANDRAIL - SABRETOOTH'S hand reaches  
  
over the edge and grabs the handrail.  
  
SABRETOOTH pulls himself on the roof, stands up and looks at the jet that vanishes into  
  
the darkness. He throws his head back and growls angrily.  
  
CUT TO:  
  
  
  
INT. THE SCHOOL'S ENTRANCE HALL - SAME TIME  
  
SINISTER smiles at ALISON.  
  
ALISON looks at her hands, stunned.  
  
SINISTER  
  
An impressive yet futile attempt, dear.  
  
PROFESSOR X (V.O.)  
  
Leave them alone, Sinister.  
  
CUT TO:  
  
SAME PLACE - CONTINUED ACTION  
  
PROFESSOR X in his wheelchair.  
  
SINISTER smiles.  
  
CONTINUED:  
  
SINISTER  
  
Ah. Professor Charles Xavier. I've been  
  
looking for you.  
  
PROFESSOR X  
  
What do you want?  
  
SINISTER  
  
For now, you. Come with us, and we'll  
  
leave in peace. If you put up resistance,  
  
your students will die.  
  
MARIE  
  
Professor, no!  
  
PROFESSOR X smiles at MARIE  
  
PROFESSOR X  
  
(to MARIE)  
  
Don't worry.  
  
(to SINISTER)  
  
I will come with you. But don't believe you  
  
have won.  
  
SINISTER  
  
Ah, do you really think your pathetic X-Men  
  
will come to the rescue? Oh please.  
  
(beat, looking at the wheelchair)  
  
I take it that bonds won't be necessary.  
  
SINISTER presses a button on a device he is wearing around his wrist, and the wheelchair  
  
rolls towards the exit. Suddenly, the wheelchair stops, and Xavier turns around to look at  
  
Sinister.  
  
SINISTER  
  
But before we leave, don't you want to give  
  
us a guided tour through the interesting parts  
  
of the school, Professor?  
  
(to TUSK)  
  
You guard the glider.  
  
(to FOXBAT and RIPTIDE)  
  
You make sure the students don't get in our way.  
  
SINISTER steers PROFESSOR XAVIER'S wheelchair down the hallway, and he and  
  
VERTIGO follow the vehicle.  
  
TUSK leaves the entrance hall heading towards the yard, and RIPTIDE and FOXBAT  
  
assume position in front of the students.  
  
VIEW AT THE STUDENTS who stand like frozen.  
  
FADE OUT.  
  
  
  
  
  
INT. MAGNETO'S JET - SHORTLY AFTER  
  
JEAN points at the front window.  
  
CONTINUED:  
  
JEAN  
  
Down there!  
  
VIEW AT THE SCHOOL'S YARD:  
  
SINISTER'S JET is standing on the yard. TUSK guards it.  
  
CYCLOPS  
  
Hold on, everybody.  
  
WOLVERINE  
  
What are you up to now, Cyke?  
  
CYCLOPS pushes the steering wheel forward, and the jet nosedives toward the ground.  
  
WOLVERINE  
  
Wacko.  
  
CUT TO:  
  
  
  
EXT. THE SCHOOL'S YARD - CONTINUED ACTION  
  
TUSK looks up as the HOWLING of the JET is HEARD.  
  
THE JET comes into sight.  
  
CLOSE ON TUSK who stares at the sky with a mixture of shock and anger.  
  
CUT TO:  
  
  
  
INT. THE JET - SAME TIME  
  
CLOSE ON CYCLOPS  
  
CYCLOPS  
  
Brace yourselves.  
  
CUT TO:  
  
  
  
EXT. THE SCHOOL'S YARD - CONTINUED ACTION  
  
The jet is pulled out but crashes right on Sinister's jet.  
  
TUSK dives into cover.  
  
  
  
INT. THE SCHOOL'S HALLWAY - SAME TIME  
  
We HEAR A LOUD CRASH from outside, and while RIPTIDE and FOXBAT turn around,  
  
MARIE winks at ALISON who smiles back, and softly touches BOBBY'S cheek who's  
  
coming to.  
  
  
  
  
  
INT. AN ELEVATOR CAGE IN THE SCHOOL - SAME TIME  
  
SINISTER and VERTIGO are standing behind the PROFESSOR. When the crash of the  
  
glider shakes the building, SINISTER looks up in angry concern while PROFESSOR X  
  
smiles knowingly.  
  
  
  
  
  
EXT. THE SCHOOL'S YARD - CONTINUED ACTION  
  
A door in the glider opens with a hiss, and one after another, CYCLOPS, STORM, JEAN,  
  
WOLVERINE AND LONGSHOT with MAGNETO climb out.  
  
TUSK looks at his adversaries, his fists clenched. He seems to prepare for an attack, but  
  
suddenly he turns around and runs away, back into the building.  
  
WOLVERINE  
  
I'll get him.  
  
WOLVERINE sets after Tusk, the others following him more slowly.  
  
CUT TO:  
  
  
  
INT. THE SCHOOL'S ENTRANCE HALL - CONTINUED ACTION  
  
TUSK comes run into the hall.  
  
RIPTIDE  
  
What was that?  
  
Before TUSK can reply, WOLVERINE enters the hall.  
  
WOLVERINE  
  
Knock, knock.  
  
A beat as he extends his claws.  
  
WOLVERINE  
  
Let's play.  
  
RIPTIDE  
  
Not so fast, wild one.  
  
RIPTIDE nods at TUSK, and he pops a few SMALL TUSKS out of his back who jump at the  
  
students.  
  
RIPTIDE  
  
Move, and the children die.  
  
CYCLOPS, JEAN, STORM and LONGSHOT with MAGNETO enter the hall, trying to get an  
  
overview of the situation.  
  
RIPTIDE, FOXBAT and TUSK turn around to look at the arrivals, and BOBBY, who's fully  
  
conscious now, freezes the SMALL TUSKS without being noticed by anybody but Wolverine.  
  
TUSK winces in the same instant that his little selves are shock- frosted, and WOLVERINE  
  
pounces at him.  
  
CONTINUED:  
  
RIPTIDE and FOXBAT turn back to the students, and Foxbat jumps at BOBBY with a hoarse  
  
yell.  
  
DAZZLER raises her hands, and uttering a war cry, she fires a beam of light at FOXBAT.  
  
The beam hits him in the middle of his leap and evaporates him.  
  
CLOSE ON A FLOOR TILE as ashes trickle to the ground, followed by a single burned  
  
spike.  
  
DAZZLER  
  
Nice try, ugly.  
  
RIPTIDE starts spinning faster and faster, and everybody looks at him without knowing what  
  
to do.  
  
TUSK obviously knows what's happening as he seeks cover behind a low brick wall.  
  
CYCLOPS watches Tusk and turns to his companions.  
  
CYCLOPS  
  
Cover, everybody!  
  
The adult and student mutants seek cover behind furniture respectively the staircase, only  
  
WOLVERINE is standing right beside RIPTIDE.  
  
NIGHTCRAWLER, from a safe point, sees WOLVERINE and the dangerous situation he's  
  
in. Suddenly, a soft BAMF is HEARD, and Nightcrawler vanishes in a yellow cloud.  
  
WOLVERINE concentrates on RIPTIDE and wants to stick his claws into the whirlwind that  
  
he has become, but all of a sudden, NIGHTCRAWLER appears right beside him in a yellow  
  
cloud and with another soft BAMF.  
  
WOLVERINE  
  
(looking at NIGHTCRAWLER)  
  
What the flamin' -  
  
NIGHTCRAWLER seizes WOLVERINE by his jacket and pulls him closer, and with another  
  
BAMF, they vanish, in the very moment that from the whirling RIPTIDE a shower of  
  
Shurikens covers the hall.  
  
CUT TO:  
  
  
  
INT. SAME PLACE, BEHIND THE STAIRCASE - CONTINUED ACTION  
  
NIGHTCRAWLER and WOLVERINE reappear behind the staircase, in the same spot where  
  
the students are hiding. Wolverine gazes at Nightcrawler, seemingly unsure what to say.  
  
NIGHTCRAWLER  
  
You're welcome.  
  
WOLVERINE stares at Nightcrawler for another second, then turns around and bends over,  
  
insecurely looking for a hold.  
  
NIGHTCRAWLER looks at the puzzled students and gives a sheepish grin.  
  
NIGHTCRAWLER  
  
Side effect. Still working on that part.  
  
CONTINUED:  
  
WOLVERINE straightens himself and turns to NIGHTCRAWLER.  
  
WOLVERINE  
  
Thanks - I think.  
  
ROGUE  
  
What shall we do now?  
  
WOLVERINE  
  
(to ROGUE)  
  
You kids stay in cover.  
  
(to NIGHTCRAWLER)  
  
Teleporter, huh? Can you get Longshot  
  
an' me up the stairs?  
  
NIGHTCRAWLER  
  
Sure, but why?  
  
WOLVERINE  
  
I've got a plan. Pray that it works.  
  
NIGHTCRAWLER takes WOLVERINE, and with another BAMF, they vanish in a yellow  
  
cloud.  
  
CUT TO:  
  
  
  
SAME PLACE - TOP OF THE STAIRCASE - CONTINUED ACTION  
  
WOLVERINE and NIGHTCRAWLER appear, and Wolverine bends over while Nightcrawler  
  
vanishes again.  
  
WOLVERINE  
  
(groans)  
  
Economy class. Yuk.  
  
NIGHTCRAWLER appears with LONGSHOT who immediately turns a shade of green and  
  
grabs for a hold, seizing WOLVERINE by his shirt. Wolverine and Nightcrawler support him.  
  
WOLVERINE  
  
Just breathe, it'll get better.  
  
(to NIGHTCRAWLER)  
  
Back into cover. Come on, get lost, Elf!  
  
NIGHTCRAWLER gives him an asking look but disappears again.  
  
LONGSHOT slowly recovers, and WOLVERINE puts a hand on his shoulder.  
  
WOLVERINE  
  
You feelin' lucky, Bub?  
  
LONGSHOT  
  
(suspiciously)  
  
Why?  
  
WOLVERINE points at the spinning RIPTIDE.  
  
WOLVERINE  
  
You're gonna knock out that guy.  
  
CONTINUED:  
  
LONGSHOT  
  
But how - oh no.  
  
WOLVERINE  
  
Fastball Special, Bub. You're the only one  
  
lucky enough to make it through to him  
  
without being torn to bits. Besides, you're the  
  
only one light enough.  
  
WOLVERINE takes LONGSHOT by his belt.  
  
WOLVERINE  
  
Logan Air, Flight 13, ready for take-off.  
  
LONGSHOT  
  
Holy shit.  
  
CUT TO:  
  
  
  
SAME PLACE - DOWNSTAIRS - SAME TIME  
  
CYCLOPS, STORM, JEAN and MAGNETO are cowering behind a shelf. They watch the  
  
events upstairs.  
  
CYCLOPS  
  
What the hell is he doing there?  
  
JEAN  
  
I think he's going to - throw him.  
  
CYCLOPS  
  
Insane.  
  
CUT TO:  
  
  
  
SAME PLACE - UPSTAIRS - CONTINUED ACTION  
  
WOLVERINE lifts LONGSHOT from the ground and hurls him down the stairs, towards  
  
RIPTIDE.  
  
CUT TO:  
  
  
  
SAME PLACE - DOWNSTAIRS - CONTINUED ACTION  
  
CLOSE ON RIPTIDE as LONGSHOT crashes into him head-on and makes him bounce off  
  
the wall and roll on the floor carried by his own spinning movement. Both men then lie on the  
  
ground, stunned and unmoving.  
  
The Shuriken shower stops, and people start to leave their cover, CYCLOPS dragging  
  
MAGNETO behind. WOLVERINE rushes down the stairs.  
  
ALISON  
  
Longshot!  
  
  
  
CONTINUED:  
  
ALISON dashes over to Longshot and kneels beside him. LONGSHOT slowly raises his  
  
head, blood running down his forehead.  
  
ALISON  
  
You okay?  
  
WOLVERINE has now reached them and looks down at Longshot.  
  
LONGSHOT  
  
What a ride.  
  
(to WOLVERINE)  
  
Remind me to kick your butt as soon  
  
as we're done here.  
  
WOLVERINE grins and helps LONGSHOT stand up. Suddenly, his grin fades and is  
  
replaced by an expression of shock and pain. He lets go of Longshot and falls to his knees,  
  
and we see three LITTLE TUSKS clinging to his back and literally digging into it.  
  
CYCLOPS  
  
Jean, get them off his back!  
  
JEAN raises her hands, and the LITTLE TUSKS are ripped from WOLVERINE'S back and  
  
flung into the air. CYCLOPS aims at them, and after three short laser beams, they're  
  
vaporized.  
  
WOLVERINE drops flat on his face. JEAN hurries over to him and examines him.  
  
JEAN  
  
He'll live, but it looks bad. It will take  
  
a while to heal.  
  
TUSK emerges from his cover and runs towards the door and outside, too quick for anybody  
  
to react.  
  
CYCLOPS  
  
Longshot, stay with him. We have to  
  
find Sinister and the Professor.  
  
LONGSHOT nods and squats beside WOLVERINE.  
  
ROGUE  
  
(to CYCLOPS)  
  
I'm coming with you.  
  
CYCLOPS  
  
No. It's too dangerous.  
  
ROGUE  
  
I saw where they went. And I can look  
  
after myself.  
  
CYCLOPS  
  
Okay, but stay in cover.  
  
ROGUE  
  
Follow me.  
  
CYCLOPS, STORM, JEAN and NIGHTCRAWLER with MAGNETO follow ROGUE down the  
  
corridor.  
  
CONTINUED:  
  
LONGSHOT gives RIPTIDE a suspicious look and slowly takes a small but sharp blade out  
  
of his brown bag.  
  
LONGSHOT  
  
(lowly, to RIPTIDE)  
  
Do me a favour and don't wake up, okay?  
  
(to WOLVERINE)  
  
And you do me the favour and wake up  
  
really soon.  
  
(to ALISON, BOBBY and the other students)  
  
Go upstairs and stay together. It's not safe  
  
down here.  
  
ALISON  
  
(pointing at RIPTIDE)  
  
You might need some help when Taz here  
  
wakes up.  
  
BOBBY  
  
Yeah, somebody to make him keep a  
  
cool head.  
  
BOBBY makes a gesture towards RIPTIDE, and ice crystals start to grow on his hair and  
  
eyebrows.  
  
LONGSHOT  
  
Okay, I guess it's safer if you stay down here.  
  
(beat)  
  
Safer for me, I mean.  
  
CUT TO:  
  
  
  
  
  
INT. THE CORRIDOR IN FRONT OF THE CEREBRO ROOM - SAME TIME  
  
PROFESSOR X offers his eye to the scanner, and a female voice sounds.  
  
FEMALE VOICE  
  
Welcome, Professor.  
  
CEREBRO'S door slides open.  
  
SINISTER  
  
I've always wanted to see this.  
  
SINISTER and VERTIGO walk inside, following the PROFESSOR.  
  
CUT TO:  
  
  
  
INT. A CORRIDOR IN THE SUBLEVELS OF THE SCHOOL - SHORTLY AFTER  
  
An elevator door opens, and CYCLOPS, STORM, JEAN and NIGHTCRAWLER with  
  
MAGNETO exit. When ROGUE wants to come with them, Cyclops shoves her back into the  
  
cage.  
  
  
  
CONTINUED:  
  
CYCLOPS  
  
You stay upstairs.  
  
ROGUE  
  
But you said -  
  
CYCLOPS  
  
I told you to stay in cover. Not being down  
  
here is the best cover you can get.  
  
CYCLOPS gives ROGUE a severe look that she defiantly returns while the door slides shut  
  
with her inside the elevator.  
  
CYCLOPS  
  
Let's go. I think I know where they are.  
  
CYCLOPS, STORM, JEAN and NIGHTCRAWLER with MAGNETO rush down the corridor.  
  
CUT TO:  
  
  
  
INSIDE THE ELEVATOR - SAME TIME  
  
ROGUE defiantly looks at the door.  
  
ROGUE  
  
(lowly)  
  
Stay upstairs. Best cover you can get. Crap!  
  
  
  
CUT TO:  
  
  
  
OUTSIDE THE ELEVATOR - CONTINUED ACTION  
  
The elevator door opens, and ROGUE comes out and quickly but carefully walks down the  
  
corridor.  
  
  
  
  
  
THE ENTRANCE HALL - SAME TIME  
  
CLOSE ON WOLVERINE'S BACK as the last traces of the deep cuts close.  
  
We ZOOM OUT as WOLVERINE groans and tries to get up, supported by LONGSHOT and  
  
BOBBY.  
  
LONGSHOT  
  
You okay?  
  
WOLVERINE  
  
Pissed off.  
  
(looking around)  
  
Where are the others?  
  
  
  
CONTINUED:  
  
ALISON  
  
Downstairs.  
  
WOLVERINE has now stood up.  
  
WOLVERINE  
  
What are we waiting for?  
  
LONGSHOT  
  
(pointing at RIPTIDE)  
  
What are we going to do with him and Tusk?  
  
He's somewhere outside.  
  
WOLVERINE  
  
(to BOBBY)  
  
Bobby, right? Keep him cool and fresh until  
  
we're back.  
  
(beat)  
  
(to ALISON)  
  
Watch his back.  
  
WOLVERINE heads down the corridor, and LONGSHOT runs after him.  
  
CUT TO:  
  
  
  
THE CORRIDOR OUTSIDE CEREBRO - SHORTLY AFTER  
  
CYCLOPS, STORM, JEAN and NIGHTCRAWLER with MAGNETO have arrived at the door,  
  
and JEAN offers her eye to the scanner. The female voice sounds again.  
  
FEMALE VOICE  
  
Welcome, Dr. Grey.  
  
The door slides open, and CYCLOPS runs inside.  
  
  
  
CEREBRO ROOM - CONTINUED ACTION  
  
The room is completely empty, and as CYCLOPS turns to look around, we PAN around the  
  
room with him. He makes a full turn until he faces the door again, where JEAN, STORM  
  
AND NIGHTCRAWLER with MAGNETO are standing.  
  
CYCLOPS  
  
They're not here.  
  
SINISTER (V.O.)  
  
Of course not.  
  
CUT TO:  
  
  
  
THE CORRIDOR OUTSIDE CEREBRO - CONTINUED ACTION  
  
SINISTER and VERTIGO are standing beside the door and behind JEAN, STORM,  
  
NIGHTCRAWLER and MAGNETO.  
  
  
  
  
  
ANOTHER CORRIDOR IN THE SCHOOL'S SUBLEVELS - SAME TIME  
  
ROGUE seeks cover when she hears steps come closer, and while she is hiding in a corner,  
  
WOLVERINE and LONGSHOT run past her.  
  
  
  
THE CORRIDOR OUTSIDE CEREBRO - CONTINUED ACTION  
  
WOLVERINE and LONGSHOT turn around the corner and see what is going on. In the  
  
same instant, CYCLOPS touches his visor.  
  
CYCLOPS  
  
Stand clear, everybody.  
  
SINISTER  
  
Your miserable laser beam won't help  
  
you now.  
  
(to VERTIGO)  
  
Vertigo, please.  
  
VERTIGO smiles, and all of a sudden, MAGNETO and all X-team members, including  
  
WOLVERINE and LONGSHOT who are standing behind SINISTER and VERTIGO but have  
  
been noticed, hold their heads and start to sway and seek for a hold.  
  
CYCLOPS, still standing on the narrow footbridge inside the Cerebro room, almost falls off  
  
and drops to his knees to keep his balance.  
  
ROGUE sticks her head around the corner but draws it back when she sees what's going on.  
  
CYCLOPS  
  
What's he doing to us?  
  
WOLVERINE is on his knees, too, and tries to get up using the wall for support.  
  
WOLVERINE  
  
You still don't get that name thing, Bub.  
  
It's her!  
  
CYCLOPS looks up, obviously not understanding.  
  
WOLVERINE  
  
Vertigo. Want me to spell it out?  
  
CYCLOPS  
  
If you can.  
  
SINISTER smiles and walks towards JEAN who wants to back away but can't get on her  
  
feet.  
  
SINISTER  
  
Well then, my dear.  
  
ROGUE now dares to leave her cover. Her eyes narrow, and without VERTIGO noticing her,  
  
she sneaks up on her and grabs her shoulder from behind.  
  
ROGUE  
  
May I borrow that?  
  
CONTINUED:  
  
VERTIGO turns around and gives ROGUE a puzzled look.  
  
ROGUE raises her free hand and firmly touches Vertigo's face. It turns all grey, and  
  
VERTIGO gasps for air. ROGUE closes her eyes as Vertigo's power is transferred into her,  
  
and with a soft moan, she releases her. With a surprised sound, Vertigo drops to the ground,  
  
and in this instant, the nausea seems to fall away from the X-Men and Magneto.  
  
WOLVERINE is the first to recover and marches towards SINISTER, past ROGUE.  
  
SINISTER turns around and now faces ROGUE, VERTIGO and WOLVERINE.  
  
SINISTER  
  
(to ROGUE)  
  
Nice performance. I'm impressed.  
  
SINISTER stares at ROGUE, and she gazes back at him, slowly dropping on her knees.  
  
Blood starts dripping from her nose.  
  
WOLVERINE turns around to see what is happening.  
  
WOLVERINE  
  
No!  
  
CYCLOPS  
  
Let her go!  
  
SINISTER  
  
(laughs)  
  
Or else?  
  
CYCLOPS touches his visor.  
  
SINISTER  
  
Go ahead.  
  
CYCLOPS opens the visor, and a laser beam shoots at Sinister, going right through him and  
  
hitting the wall behind him without harming him.  
  
SINISTER  
  
You fool. Have you really forgotten that your  
  
pathetic beam doesn't harm me?  
  
CLOSE ON ROGUE as from her right eye, a small drop of blood that looks like a tear runs down her cheek.  
  
CYCLOPS  
  
(to the X-team)  
  
He is mine.  
  
SINISTER  
  
(grinning)  
  
Why Scott, don't tell me you are still  
  
mad with me?  
  
CYCLOPS  
  
(lowly)  
  
After all those awful years? Yes, I am.  
  
CLOSE ON WOLVERINE who apparently doesn't understand.  
  
CONTINUED (2):  
  
SINISTER  
  
Well, if you want to try again, you are more  
  
than welcome. But try not to hit your girlfriend.  
  
SINISTER takes a few quick steps towards JEAN and pulls her on her feet, holding her like a  
  
shield.  
  
SINISTER  
  
If one of you tries to stop me, she will die.  
  
SINISTER backs away down the corridor, dragging JEAN with him. As soon as he is around  
  
the corner, the invisible grasp on ROGUE'S mind vanishes, and she drops to the ground.  
  
WOLVERINE rushes towards her and kneels down beside her. When she doesn't move, he  
  
raises his hand to her face, on his face the expectation of pain.  
  
Suddenly ROGUE raises her hand as well without opening her eyes, gently pushing  
  
Wolverine's hand aside.  
  
ROGUE  
  
Don't. I'll be fine.  
  
Now ROGUE opens her eyes and smiles at WOLVERINE who smiles back in relief.  
  
CYCLOPS sets after Sinister.  
  
WOLVERINE  
  
(to STORM, re: ROGUE)  
  
Stay with her!  
  
WOLVERINE now sets after CYCLOPS and Sinister.  
  
  
  
  
  
INT. THE SCHOOL'S ENTRANCE HALL - SAME TIME  
  
RIPTIDE slowly starts moving.  
  
LONGSHOT  
  
(to BOBBY)  
  
I think he needs another shot.  
  
BOBBY points at RIPTIDE'S forehead, and again, ice crystals appear on his hair and  
  
eyebrows, and he stops moving.  
  
A LOW HISSING SOUND IS HEARD, accompanied by an unpleasant SCRAPING SOUND.  
  
ALISON  
  
What's that?  
  
A SINGLE SMALL TUSK appears in the doorframe and slowly comes inside, and suddenly,  
  
more SMALL TUSKS come from everywhere and attack the students and LONGSHOT.  
  
LONGSHOT  
  
That's what he's been doing!  
  
TUSK appears in the doorframe, a satisfied grin on his face.  
  
LONGSHOT and the students fight with the SMALL TUSKS, each in their own way.  
  
CONTINUED:  
  
BOBBY freezes as many small Tusks as he can while DAZZLER shoots her beams into the  
  
wriggling mass of little bodies.  
  
LONGSHOT kicks away a few of the smaller samples and then focuses on the tall Tusk. He  
  
runs through the hall, stepping on a few Small Tusks, and takes a large leap on the big one.  
  
Because of his light body, he doesn't even make Tusk stumble, but he struggles really hard.  
  
Tusk puts his arms around Longshot's chest and presses, and his face twisted with pain,  
  
Longshot tries to get free.  
  
One of the boys uses his talent to dodge the Small Tusks while another one, the boy we  
  
know from Ororo's training lesson, shoots water arrows at the creatures.  
  
TUSK presses LONGSHOT'S chest a little harder, and we HEAR a DULL CRACKING  
  
SOUND.  
  
  
  
  
  
INT. A CORRIDOR IN THE SUBLEVELS OF THE SCHOOL - CONTINUED ACTION  
  
WOLVERINE has now caught up with CYCLOPS, and side by side, they run down the corridor.  
  
  
  
THE CORRIDOR OUTSIDE CEREBRO - SAME TIME  
  
ROGUE sits up and wipes the blood from her face.  
  
STORM  
  
Are you okay?  
  
ROGUE  
  
Yeah.  
  
(beat)  
  
(shocked)  
  
Where's the Professor?  
  
STORM  
  
Sinister must have taken him somewhere  
  
before he came here.  
  
A RUMBLE is HEARD, and STORM looks up.  
  
STORM  
  
Oh my God.  
  
A beat as she stands up.  
  
STORM  
  
I know where he is. Follow me!  
  
ROGUE gets on her feet and runs after STORM who hurries down the corridor.  
  
NIGHTCRAWLER looks at MAGNETO, then at VERTIGO in almost funny despair.  
  
NIGHTCRAWLER  
  
(to MAGNETO)  
  
I have a feeling we should go with them.  
  
After you, mein Herr.  
  
CONTINUED:  
  
NIGHTCRAWLER gently shoves MAGNETO forward, following Storm and Rogue.  
  
CLOSE ON VERTIGO who is lying on the floor with closed eyes.  
  
  
  
  
  
INT. THE SCHOOL'S ENTRANCE HALL - SAME TIME  
  
LONGSHOT is still in TUSK'S grasp. He is gasping for air, and his resistance gets weaker.  
  
DAZZLER sees that he is about to be choked, and cracks her knuckles.  
  
DAZZLER  
  
Longshot, turn him around!  
  
LONGSHOT understands, and with the last bit of power in his body, he knocks his head  
  
against TUSK'S nose. The mutant loosens his grasp, and Longshot's hands come free. His  
  
feet touch the ground again, and seizing Tusk by his shoulders, he turns him around so that  
  
his back is turned towards DAZZLER with his front facing Longshot.  
  
DAZZLER sends a bright beam of light at TUSK, who is hit in the back and falls on his face,  
  
burying LONGSHOT under his heavy body.  
  
DAZZLER  
  
Oh no!  
  
DAZZLER makes her way through the remaining SMALL TUSKS and tries to drag TUSK'S  
  
body off Longshot.  
  
LONGSHOT reaches out from under the body and helps by pushing it aside.  
  
LONGSHOT  
  
Adorable.  
  
DAZZLER and LONGSHOT now help the students get rid of the SMALL TUSKS who seem a  
  
bit disoriented.  
  
  
  
  
  
THE CONTROL ROOM OF THE DANGER ROOM - SHORTLY AFTER  
  
STORM and ROGUE enter the room and rush to the window. Here's what they see:  
  
DANGER ROOM  
  
PROFESSOR X is lying beside his wheelchair, face down, and doesn't move while all  
  
around him, laser beams hit the ground and the blades from the cone cut the air above him.  
  
CONTROL ROOM  
  
ROGUE  
  
Shut it off!  
  
STORM hits buttons and presses keys, but we still HEAR RUMBLE and BUZZING  
  
SOUNDS.  
  
STORM  
  
I can't! It doesn't react!  
  
CONTINUED:  
  
VIEW INTO THE DANGER ROOM where PROFESSOR X still isn't moving when one of the  
  
laser beams hits him in the shoulder.  
  
  
  
  
  
THE SCHOOL'S ENTRANCE HALL - SAME TIME  
  
SINISTER comes run up the corridor, pulling JEAN with him whose nose is bleeding. JEAN  
  
doesn't resist, and we conclude that he stunned her.  
  
LONGSHOT looks up and notices them.  
  
LONGSHOT  
  
What the -  
  
SINISTER again holds JEAN like a shield.  
  
SINISTER  
  
Don't even think about it.  
  
SINISTER, dragging JEAN with him, moves forth towards the garden where Magneto's jet is  
  
"parked".  
  
WOLVERINE and CYCLOPS enter the hall and follow Sinister more slowly.  
  
DAZZLER, BOBBY and LONGSHOT follow the strange group.  
  
  
  
  
  
EXT. THE SCHOOL'S YARD - CONTINUED ACTION  
  
DAZZLER, BOBBY and LONGSHOT exit the building in the instant that SINISTER with  
  
JEAN has reached the jet.  
  
SCOTT and WOLVERINE have stopped a few yards away from Sinister, not daring to come  
  
any closer.  
  
SCOTT  
  
You won't get her!  
  
SINISTER  
  
I don't need her. Except as a little insurance,  
  
of course.  
  
SINISTER is standing half inside jet and now pushes JEAN from the vehicle.  
  
SINISTER  
  
There you go. Good-bye.  
  
SINISTER vanishes into the jet, and the door closes.  
  
CYCLOPS runs over to the jet and lifts JEAN up to carry her away from the dangerous spot.  
  
The airplane slowly rises from the ground.  
  
CYCLOPS puts JEAN to the ground in a safe distance and fires a laser beam at the  
  
jet, but it doesn't show much effect.  
  
CONTINUED:  
  
LONGSHOT  
  
Isn't the Blackbird armoured?  
  
CYCLOPS  
  
It is. And this one's, too. Damn!  
  
The jet dashes off into the night, and the X-Men can only look at it vanish.  
  
CYCLOPS  
  
I can't believe we lost him.  
  
JEAN moans, and CYCLOPS kneels down beside her.  
  
CYCLOPS  
  
Jean!  
  
JEAN  
  
Scott.  
  
CYCLOPS strokes her hair, and JEAN smiles at him.  
  
DAZZLER tiredly leans against LONGSHOT'S shoulder, and he puts an arm around her.  
  
WOLVERINE sniffs and then turns toward the others.  
  
WOLVERINE  
  
Where's the Professor?  
  
  
  
  
  
THE DANGER ROOM'S CONTROL ROOM - SAME TIME  
  
NIGHTCRAWLER with MAGNETO enters the room.  
  
NIGHTCRAWLER  
  
What's going on?  
  
STORM  
  
Sinister activated the Danger Room with  
  
the Professor inside, and I can't stop it!  
  
ROGUE  
  
(to NIGHTCRAWLER)  
  
Can you teleport inside and get him out?  
  
NIGHTCRAWLER  
  
Too many moving parts. If I teleport in there,  
  
I'll end up being part of the machine.  
  
(beat)  
  
(to MAGNETO)  
  
But I believe you can help.  
  
MAGNETO  
  
Why should I?  
  
ROGUE  
  
You can't just let him die!  
  
  
  
CONTINUED:  
  
STORM  
  
Please.  
  
NIGHTCRAWLER releases MAGNETO.  
  
NIGHTCRAWLER  
  
I hardly know this man, but I do know that  
  
he doesn't deserve to die. Please, save him.  
  
MAGNETO steps closer to the window and makes a casual gesture.  
  
VIEW INTO THE DANGER ROOM  
  
With a SCREECHING SOUND, the blades stop moving, and in the same instant, the laser  
  
beams stop as well.  
  
NIGHTCRAWLER touches MAGNETO'S shoulder.  
  
NIGHTCRAWLER  
  
Thank you.  
  
STORM, ROGUE and NIGHTCRAWLER quickly leave the Control room. NIGHTCRAWLER  
  
gives Magneto another short look before he turns around the corner - a look that says 'if you  
  
leave now, I won't notice'.  
  
  
  
  
  
THE DANGER ROOM - SHORTLY AFTER  
  
STORM, ROGUE and NIGHTCRAWLER enter the room and hurry towards the Professor.  
  
STORM kneels down beside him.  
  
STORM  
  
Professor.  
  
The PROFESSOR slowly turns his head aside and opens his eyes.  
  
PROFESSOR X  
  
It is good to see you.  
  
The door flies open, and WOLVERINE, CYCLOPS, JEAN, DAZZLER, LONGSHOT and  
  
BOBBY come inside, all looking at the Professor in concern.  
  
PROFESSOR X  
  
Help me up, children. I will be fine.  
  
STORM and NIGHTCRAWLER help the Professor up, and WOLVERINE pushes his  
  
wheelchair closer. All three help the Professor sit down in the chair.  
  
PROFESSOR X  
  
Sinister?  
  
CYCLOPS  
  
He got away.  
  
PROFESSOR X  
  
Magneto?  
  
CONTINUED:  
  
NIGHTCRAWLER pensively looks up at the window of the Control room.  
  
NIGHTCRAWLER  
  
I think he is gone, too.  
  
(beat)  
  
He was the one who stopped the machine.  
  
PROFESSOR X  
  
I don't know if this would have been  
  
necessary. The machine is designed to  
  
train, not to kill. Sinister didn't know that.  
  
WOLVERINE  
  
Or he knew it, and it was all a sick game.  
  
NIGHTCRAWLER  
  
Whatever for?  
  
WOLVERINE  
  
You wanna tell what's going on in that  
  
twisted mind?  
  
NIGHTCRAWLER slowly shakes his head.  
  
We ZOOM OUT until we see the X-team as a whole.  
  
FADE OUT  
  
  
  
  
  
FADE IN: EXT THE TERRACE IN FRONT OF THE SCHOOL - MORNING  
  
PROFESSOR X, JEAN, SCOTT, ORORO and KURT are sitting at the table. Professor X, a  
  
band-aid on his forehead, wears a less formal shirt than usual and no tie, Scott is wearing  
  
blue jeans and a grey and black pullover. Jean is dressed in black trousers and a red blouse,  
  
Ororo wears a blue dress, and Kurt wears black pants and a black polo neck sweater.  
  
LONGSHOT (big scratch on his forehead, black and blue all over his face, blue jeans, t-shirt,  
  
leather jacket), ALISON (black jeans, blue t-shirt) and MARIE (light brown skirt and green  
  
blouse) come outside, Longshot and Alison holding hands.  
  
MARIE  
  
Where's Logan?  
  
(beat)  
  
(worried)  
  
Did he -  
  
LOGAN (O.S.)  
  
Leave? Nope.  
  
LOGAN enters the frame, carrying a guitar case that suspiciously resembles the one Alison  
  
had to leave in the dark alley.  
  
LOGAN  
  
He just forgot something in his car.  
  
(to ALISON)  
  
Couldn't stand the thought of you bugging  
  
me for the rest of my life because of that thing.  
  
CONTINUED:  
  
LOGAN hands ALISON the guitar case. Alison briefly hugs him, and Logan walks over to  
  
Marie.  
  
LOGAN  
  
(to NIGHTCRAWLER)  
  
Any trace of that Vertigo gal?  
  
NIGHTCRAWLER  
  
She vanished.  
  
WOLVERINE  
  
Can anybody tell me who didn't vanish  
  
last night? Sinister, Vertigo, Magneto -  
  
ORORO  
  
What about Magneto's plan?  
  
SCOTT  
  
The machine was inside the jet Sinister took.  
  
If Magneto is still planning to do something like  
  
mutating entire hotels full of people, he'll  
  
first have to build a new one. The convention  
  
last night was safe, however.  
  
WOLVERINE  
  
Yeah, but what about Sinister? What the heck  
  
did he want?  
  
PROFESSOR X  
  
I believe he wanted Jean's DNA to experiment  
  
with it.  
  
JEAN  
  
You said he might try to create a whole new  
  
mutant from my DNA and that of somebody  
  
else. Do you think he already has this other  
  
DNA sample? I mean, he wasn't after anybody  
  
else, except from you.  
  
PROFESSOR X  
  
Yes, and he doesn't have any samples from  
  
me. This means he already has half of what  
  
he needs.  
  
JEAN  
  
Maybe all he needs. A single hair of mine would  
  
be enough.  
  
PROFESSOR X  
  
Yes. I didn't want to think about it, but we have  
  
to consider the possibility that he is already  
  
experimenting.  
  
JEAN  
  
But who could be the other person? The only  
  
one that we know he has been experimenting  
  
with in the past is Scott.  
  
CLOSE ON THE PROFESSOR who looks up, shocked by a sudden realization.  
  
CONTINUED:  
  
PROFESSOR X  
  
He is the other one.  
  
A beat as he looks at SCOTT.  
  
PROFESSOR X  
  
You are the other part of the puzzle. You must  
  
be. Your ability is so strong - a mutant carrying  
  
it combined with Jean's gift would be incredibly  
  
powerful.  
  
A beat while everybody considers this idea.  
  
SCOTT  
  
What are we going to do about it? Or will we  
  
wait until Sinister makes the first move?  
  
PROFESSOR X  
  
We must try to find him, and stop him before  
  
he can realize his plan.  
  
LOGAN  
  
Sounds good to me.  
  
MARIE  
  
(to LOGAN)  
  
What about you? What you found must have  
  
given you more questions than answers.  
  
LOGAN  
  
I'm not sure I want to find out all about it. Still  
  
getting over a few things. When I was at that  
  
military compound, some memories returned.  
  
I don't know how much of it was true, but I  
  
could have sworn I saw Sabretooth.  
  
LONGSHOT looks up, his expression pensive.  
  
LONGSHOT  
  
Maybe you did.  
  
(to the PROFESSOR)  
  
When you told me who Sabretooth is, you said  
  
that his healing abilities are similar to those of  
  
Logan. You also said that exactly these abilities  
  
were something all victims of these experiments  
  
had in common.  
  
LOGAN  
  
This means I knew him.  
  
PROFESSOR X  
  
You might even have worked together.  
  
LOGAN  
  
I think I still have some things to find out.  
  
CLOSE ON LOGAN whose expression turns very serious.  
  
  
  
  
  
EXT. THE SCHOOL'S YARD - LATER IN THE MORNING  
  
ALISON and MARIE walk down a path.  
  
ALISON  
  
You simply drew her power? I wouldn't have  
  
thought of that.  
  
MARIE  
  
That's because you don't think about how  
  
to control your power all the time.  
  
ALISON  
  
Once you know how, it's suddenly not the  
  
most important thing in your life anymore.  
  
MARIE and ALISON look up when LONGSHOT appears on the path about 25 yards away.  
  
MARIE  
  
(smiling)  
  
I see.  
  
(beat)  
  
I'm so happy for you.  
  
ALISON  
  
Can't wait for you to find somebody.  
  
MARIE  
  
I can wait.  
  
(beat)  
  
Hey, I guess I have to.  
  
MARIE smiles, a somewhat sad but honest smile.  
  
MARIE  
  
But you're right, someday I'll know how to  
  
control it.  
  
MARIE gives an encouraging nod, and after hugging her, ALISON runs down the path  
  
towards LONGSHOT who gives her a soft kiss. The couple walks away.  
  
MARIE  
  
(lowly)  
  
Someday.  
  
MARIE turns around and walks away in the opposite direction.  
  
  
  
  
  
EXT. NEW YORK CENTRAL PARK - DAY  
  
PROFESSOR X and MAGNETO are sitting on the same bench as last time.  
  
MAGNETO  
  
It is not over yet.  
  
A young woman walks past them, pushing a baby carriage along.  
  
  
  
CONTINUED:  
  
PROFESSOR X  
  
(nodding at the YOUNG WOMAN)  
  
Don't you think it will be better to let them live  
  
their lives? You say that mutants should be  
  
granted a free life - the pursuit of happiness?  
  
Do normal humans not have the same right?  
  
By making them what nature hasn't intended  
  
for them, you take away the lives they would  
  
have had.  
  
MAGNETO  
  
What other way is there to make them understand?  
  
PROFESSOR X  
  
People fear what they don't know. But to make  
  
them know us, you needn't make them be like us.  
  
MAGNETO  
  
What else could we do? Charles, do you really  
  
know how to take away their fear of us? How to  
  
make them see us as what we are?  
  
A beat as PROFESSOR X thinks about what has been said.  
  
PROFESSOR X  
  
I don't know.  
  
MAGNETO stands up.  
  
MAGNETO  
  
I trust in you to contact me when you find an  
  
answer. Until then, I will do whatever I consider  
  
necessary. And I recommend you do not try  
  
to stop me.  
  
A NURSE that we again recognize as MYSTIQUE appears and guides MAGNETO away.  
  
PROFESSOR X pensively looks at two children running past him, laughing and shouting.  
  
PROFESSOR X  
  
We fought you back twice. And for the sake of  
  
the innocent, we will fight you back again. As  
  
often as necessary.  
  
We PAN ACROSS THE MEADOW with lots of children, parents, older people and young  
  
couples sitting, lying or playing on it, and as we do so, we ZOOM OUT.  
  
FADE OUT.  
  
FADE IN CREDITS.  
  
THE END. 


End file.
